Changes to: Refactored Code

Refactored Code
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443 and 444. Pair of door-handles
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in the form of fishes
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11.2 cms. (length of each handle)
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Brass, highly polished but the backplates against the walnut door
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frames with a dark brown natural patina.
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Attached to, probably made for, and possibly designed for, the
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walnut panelled interior doors of the Hill Music Room, which were
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designed 1938 and completed 1939.
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In July 1936 Alfred Hill of the firm ofwilliam E. Hill and
Sons, then of 140 New Bond St, approached the Vice-
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Chancellor with the idea of presenting to the University the
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celebrated collection of early musical instruments which he
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had formed with the help of his brother Arthur. The Curators
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of the Bodleian Library had decided by early 1937 that they
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could not find a suitable space, but the Ashmolean Museum
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was interested and had allocated the Sladc lecture room to
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receive the collection by the summer of 1937 (a new lecture
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room was created below the Draper's Gallery, then being
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planned). In October Alfred Hill first suggcstcd Allom as
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architect for the conversion of the room. Hc did so on the
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recommendation of F. H. H. Romaine Walker who was too
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ill to take on the job himself. Allom was the `leading decorator
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here and in New York'-also a noted yachtsman and golf-playcr.
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Hill's first idea was for a panelled `Georgian' room
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and Romaine Walker had dreamt of recreating the setting of
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an eighteenth-century conversation piece, but Allom, whose
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designs were probably made after the official acceptance of
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the gift in June 1938, wanted to create something Italian for
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what was a largely Italian collection. The plaster frieze which
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he supplied, consisting of shields set in scallopcd tondi and
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swags between with dainty fluttering ribbons, has a Florcntinc
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quattrocento flavour. Nothing remains of his original colour
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scheme except the remarkably accomplished imitation of pc7ide
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¢"f¢.co for the skirting, but origivally the door frame, and
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perhaps other features, were coloured to resemble P¢.e£7t¢
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Jcye"¢. The design of the door frame caused considerable
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acrimony. Allom wanted to give it a pediment inspired by one
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on the Pazzi Chapel. Parker felt that this was inappropriate
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and the Kcepcr of the Museum, E. T. Leeds, put the case
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against the pediment in a letter to Allom of 5 October. Allom
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replied with assurances of his extensive study of Italian art: `1
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know I am right'-nd moreover Mr Hill liked his door.
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Cockerell's architecture was Greek, Allom was reminded. But
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Allom was able to point out that Cockcrell's work had many
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Italian Renaissance features. By the end of the month the
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Visitors had rcjccted the pediment. The door itself is a
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handsome if conventional design and made of splendidly
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figured walnut. The stylized dolphin-like fish used for the
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entirely modern handles were as popular in Greece in the fifth
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and fourth centuries BC as in Italy in the fifteenth and
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sixteenth centuries AD. They would certainly have met with
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Cockcrell's approval and seem not to have excited any
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disapproval within the Museum. But then the war interrupted
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the whole debate and by the time the Room was officially
opened in 1950 Allom was dead.
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BRITISH SCULPTURES, BY ARTIST'S NAME
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Galizia foundry, Chatficld Road, Battersea, Ijondon
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After Kenneth ARMITAGE CBE (b. 1916)
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445. The Bed
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11.8 cms. (height); 21.4 cms. (length)
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Bronze with a uniform black patina. I.ost-wax cast, the fuller foms
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open below. Incised in the model at the lower edge of the taller
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vertical element `2/6' and `65 KA'.
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From the collection of Christophcr Hewett ( 1938-83) given to the
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Museum by his family in June 1985 and included in the exhibition
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celebrating the dft held in the MCAlpine Gallery in January and
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February 1987 (no.12 in the catalogue). A charcoal drawing and a
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photo-etching by Armitage were also included in the gift to the
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Museum. Three drawings and two sculptures by him from Hcwctt's
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collection were presented at the same time to the Henry Moore
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Centre for the Study of Sculpture at Leeds City Art Gallery.
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Armitage had exhibited at Hewett's Taranman Gallery in 1982.
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The sculptor explained that this sculpture origivated in the
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spectacle of a friend crossly burying her head under the bcd-linen,
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thus inadvertently exposing her buttocks. `Thcre were
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two different versions of this tiny piece but similar in size.
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Thcrc was also a very much bigger version in white fibre-glass.'
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It was cast in an edition of six in 1965. The theme of
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combining human forms with furniture is found in other more
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recent work by Armitage such as his three bronze Cf7¢¢.7tf (of
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1981; nos.1-3 in the Taranman exhibition of 1982, where
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au arc mustrated).
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BRITISH SCULPTURES, BY ARTIST'S NAME
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Perhaps after Thomas BANKS ( 1735-1805)
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446. Contemplation (Pudicitia)
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42 cms. (height including integral base of 2.4 cms.)
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Plaster. White discoloured to grey. Hollow cast. Some small chips
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missing from head and back of base. The hollow containing a label
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inscribed in pen `Presented by the Misses Bullock-Webster 1916'
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and the base itself pasted with two paper labels inscribed in pen in
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a hand of c.1900 `Contemplation. / modelled by / Thomas Banks.
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RA. Sculptor/Born 1735 Died 1805' and `a friend of gt.
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grandfather / and mother Edward & Rachel Webster / and given to
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them by him / with other models and medallions / which were not
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kept.' (The name is not certainly Webster.)
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Given by the Misses Bullock-Webster,1916 (A""#¢/ RcPo# ( 1916),
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14).
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The plaster came to the Museum under the Kccpership of
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C. F. Ben who claimed Banks as a forebear and was probably
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already collecting the material on him which he would
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eventually publish (more out of antiquarianism and piety than
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any high estimate of the sculptor's ability) as A»»¢/f a/T77oov¢f
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Bo»fu (Cambridge,1938). And yet in that volume no mention
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is made of this statuette. Bell recognized that it was a cast of
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a furly accurate copy of the portrait statue in the Vatican
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Collection known as the £¢.pG.a A4:¢#G¢. or P#dG.c¢.f¢.a and much
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esteemed in the eighteenth century (see F. Haskcll and N.
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Penny, T¢#G ¢»d £4G A„f¢.g#c (Ijondon and New Haven,
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Conn.,1981), 300-I) and he may therefore have dismissed
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the legend that it was by Banks. And yet some connection
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with him is likely. It might merely be a cast of a copy by
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someone else which was in the sculptor's studio, but that
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Banks was interested by the figure is probable, especially
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when we consider his paraphrase of other notable antique
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figures for the captives around the pedestal of the monument
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to Captain Richard Rundell Burgess in St Paul's (the model
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for which was exhibited in 1802). And that he did make
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reduced and modified copies after the antique is demonstrated
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by the medallions of A4lo#g¢.„g and EPG"¢.„g commissioned
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from hin by Sir John Soane for the pendentivcs of the ceihng
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of the Old Dividend Office in the I.othbury Court of the
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Bank of England (now dcstroycd) which were based on
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terracotta versions which he is said to have made in Rome
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and which arc now in Sir John Soane's Museum (Bell, op.
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cit. 147). Indeed the latter may well be connected with the
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`models and mcdallions' mentioned on the old label. The
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ways in which the plaster differs from the antique marble are
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compatible with Banks's taste: the figurc's right hand is drawn
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closer into her drapery, the hair and diadem are altered, the
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veil falls more softly over her left shoulder, and there are
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adjustments to the length of drapery falling in front of her
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left arm.
\
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BRITISH SCULPTURES, BY ARTIST'S NAME
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Unknown foundry
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After Gilbert William BAYES ( 1872-1953)
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447. Sigurd
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71.9 cms. (height of bronze group); 36 cms. (length of integral
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bronze plinth); 27 cms. (width of bronze plinth); 17.4 cms.
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(height of marble block); 44.4 cms. (length of marble block);
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28.2 cms. (width of marble block); 99.5 cms. (height of wooden
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pedestal); 81 cms. (length of wooden pedestal); 43 cms. (width
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of wooden pedestal)
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Bronze with a dark brown patina deliberately worn to a golden
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brown in some areas in relief (such as the dragon on his saddle-cloth
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and the helmet ornament), with some blue and green enamel
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in champleve fields of the saddle-cloth and bridle. Hollow cast, by
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the sand-cast method, in pieces. The plinth was cast separately and
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its underside reveals, at the points of contact with the three hoofs,
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the iron armature inside the cast of the horse. The rider and horse
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were cast separately, as were the parts of the bridle and saddle-cloth
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decorated with enamel. In the case of the saddle-cloth this is only
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apparent at the points of contact with the horse's back legs and the
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hero's feet. The reins and sword strap of pliable copper are added.
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The latter has been broken off: the rivet originally attaching it to
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the flapping cloak remains. `GILBERT BATES / 1910' is chiselled in
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the bronze across the corner of the plinth by the horse's back right
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hoof. In raised letters of `Lombardic' form around the four sides of
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the plinth is the following text: `He . who . would . win . to /the .
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Heavens . & . bc . as . the . Gods . on . high/ must . tremble .
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nought . at . /the . road . & . the . place . where . men . folk .
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die'. The bronze plinth is mounted on, but unsecured to, a marble
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block decorated with panels in sunk relief with some gilding now
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mostly worn off, chipped, scratched, discoloured with dirt and with
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red paint. This block is, in turn, mounted on, but unsccured to, a
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wooden pedestal, painted to resemble stone, decorated with panels
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in sunk relief. Above the higher ffieze of figures on one side arc the
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names `BRyNHILD . GRIMHILD . GUDRUN' with the text above the
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lower frieze: `AND . LO . THE . HoPE . oF . THE . PEol>LE ; THE
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DAys . oF . A . KING . ARE . BEGUN' and on the opposite side
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`GUNNAR', `HOGNI', `GOGGORM', on the banners held by the warriors
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in the higher frieze. The painting on the pedestal is generally
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discoloured with dirt and is also flaking. The separate wooden
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elements are dividing where formerly glued and are also splitting.
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Bequeathed by the Revd J. W. R Brocklebank in 1927. Acquired by
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him in 1910 in substitution for an earlier cast of the same figure
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(see below). The pedestal had been completed in March 1910 and
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the marble base made in June in the previous year. No. I on Andrew
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Shirley's receipt of January 1927.
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S¢j#7i¢ was exhibited at the Royal Academy in 1909 (as
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no.1834, S¢j"7i¢-eg#ctrr¢.¢7? f£#f#c#G, 47io7£2;e). Bayes had
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made his reputation with sculpture of horses and his interest
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in Nordic mythology had been evident as carly as 1894 when
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he exhibited 777c r¢.dc a/£¢G V¢/ky7p¢.cf at the Royal Academy.
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S¢j#7:¢ is the hero of the E/¢Gy E¢de, a source made available
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to the educated public of that period by William Morris's
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vcrstror\, The Story Of Sigurd the Volsung. Here. he tildes Grey
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Fell (Sft of Odin), holding aloft the maric sword Gram or
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Wrath, having slain the dragon Fafhir. The dragon is
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represcntcd on his helm-crest and saddle-cloth. The Branstock
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tree, emblematic of the Volsung dynasty, is represcntcd in
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enamel on the saddle-cloth.
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Brocklebank offered £150 (presumably the asking price)
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for the bronze on 17 June 1909 probably as soon as he saw
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it and Bayes promptly rcplicd accepting this offer on 18 June.
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This reply is the first of a series of letters from him to
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Brocklebank which survive in the Department's archive.
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Brocklcbank, doubtless realizing that the bronze needed to
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be seen from all sides, and was, with its marble base, too large
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and heavy to be placed on any existing piece of furniture,
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asked the sculptor to design a pedestal for it. On 30 June
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Bayes thanked Brocklebank for his cheque, observed that the
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last day of the Academy exhibition is `always the Aug. Bank
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Hohday', and concluded, `1 shall be roughing out the sketch
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for the base shortly 8c will send it up to you.' On 17 August
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he wrote, apologizing that the bronze had not returned from
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the Academy when he left town but he expected to bc in
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I.ondon the following week and, as soon as he had made `a
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note of the carving on the marble and the colour scheme, so
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that the pedestal may bc in keeping with them', hc would
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have the group packed up and sent. `In the meantime I enclose
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a sketch of what I propose. The carving on it is very simple
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incised carving with colour introduced into the deep sunk
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background of the reliefs 8c patterns.'
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Brocklebank was obviously impatient and a lcttcr from
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Baycs dated 25 August apolodzcs for the delay and promises
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to dispatch the group on 27 August; then one of 27 August
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apolodzes for it not being sent owing to a misunderstanding
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but assures Brocklcbank that it will go first thing tomorrow.
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`1 have had the marble 8c bronze packed separately as being
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safer, the screw, nut, & stcading pin being packed with the
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marble.' He added that `1 hope you received the sketch design
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for the wooden pedestal that I sent you from abroad. Will
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you let mc have it back when you have decided how you hke
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it.' It is possible that Brocklebank was irritated by the delay
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for Bayes wrote on 6 September expressing the hope that the
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group had arrived safely, not having heard that it had done
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so (a courtesy he would certainly have expected). In the next
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letter of 24 February 1910 Baycs sincerely regrets `having
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been so long upon the ``Sigurd" base but a number of
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un-expected things turned up in connection with it' and
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concludes that he hopes to send it within the month. On 15
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March he announced that he was sending it on the following
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evening.
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I have lost all sense of the wood er given it a `granulated' surface as
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you suggested erhave kept the top panels low in tone to lead up
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to the bronze.
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In the front of the base the upper panel represents the three
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Niblung brothers Gunnar, Hogni, 8c Guttom; the relief below,
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`the funeral of Sigurd'.
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On the back are the three women Blynhild, Grimhild 8c Guchm
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who had played the most important part in the life of Sigurd.
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Below is the child Sigurd being taken to RIng Elf to be named,
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with an inscription above `and lo, the hope of the people, the days
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ofa king are begun'. On the capitals are the ravens of odin `Thought'
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er'`Speech'.
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BRITISH SCULPTURES, BY ARTIST'S NAME
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You will find the base so solidly constructed that it will need no
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further weighting, in fact I found it an advantage to have casters.
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I trust you understand how sorry I am to have kept you waiting
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so long, but each stage, the making, carving, gilding c?colouring
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ran into more time that I had anticipated.
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There was, it sccms, no reply to this from Brocklebank who
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was perhaps again irritated by the delay and also by the bill
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for £50 which may have accompanied Bayes's letter. `1 have
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been hoping to hear from you as to whether you like the base
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8c if the colouring suits the room', wrote Bayes on 3 April
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with a brevity that surely also imphed that he expected
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payment. On 12 April he wrote as follows:
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I am in receipt of yours givam glad to hear that you think the base
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suits the `Sigurd' very well.
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It is unfortunate that you think it expensive at £50 as it shows
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that the measure of your appreciation docs not equal the amount
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of work and thought I have expended upon it.
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I should myself have liked to add side panels but as it was costing
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me up to the amount you wished to pay, I had reluctantly to
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abandon the idea. You are probably wanting a base with much less
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thought & labour 8[ would prefer to spend a lesser sum upon it.
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In that case now that a suitable base has been thought out could
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not your local joiner, that you mentioned, make an inexpensive one
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for you leaving out the art? Doubtless a second one made from that
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which is already thought out could be made more cheaply for you.
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The price I had to pay for mine would astonish you I can see from
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your letter.
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If you decide to have a less expensive one, would you be good
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enough to let me have mine back at your earliest convenience as I
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will make use of it myself.
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This worked, and on 20 April Bayes wrote thanking
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Brocklcbank for his
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letters & cheque, & expression of appreciation of `Sigurd'. I hope
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as time goes on the base will further increase your liking of the
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work as a whole. Should it not I will exchange it for a statuette.
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I was glad to have your assurance that I had removed any doubts
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you might have had as to my straightforwardness in the matter &
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shall be glad to show you the work I have in my studio when you
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care to pay me a visit.
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I did not take much care of the little water colour sketch during
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the construction of the base & damaged it while making a couple
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of clay models from it.
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In the meantime Bayes had made a revised version of the
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group and this was exhibited at the Royal Academy (no. 1913,
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Sigurd-Statuette, bron2;e and enunel). In the oritrnal S±g\ird
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had held aloft the ring Andvaranant which Fafiiir had guarded.
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In this version hc held his sword. Brocklcbank considered this
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alteration to be an improvement. `1 will have a photograph
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of Sigurd 11 sent off tomorrow', Bayes wrote to him on 18
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June 1910.
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It is not a very good one but was taken at the last moment before
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the bronze was sent off to the Academy. I am interested to hear
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you like the alteration but regret it should make you jealous.
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Would you care for me to have a fourth cast made similar to the
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Academy one and let you have it in place of yours?
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Bayes could not offer the cast on exhibition at the Academy
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because it had been purchased under the terms of the
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Chantrey Bequest for the Tate Gallery (no. 2739-reserve
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collection).
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An undated letter of either late June or early July informed
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Brocklebank that he was thinking of having another cast made
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of S¢j"%¢ `for the Rome International next year Cr as I
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gathered from your letter that this year's Sigurd was the
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favourite I am willing to have an extra cast made for you giv
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send the one you now have to the Exhibition. There will be
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no extra expense involved a this arrangement will I think
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please you better.'
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Evidently Brocklebank agreed to this proposal and on 5
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July Bayes explained that it would be thrcc or four months
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before the exchange could be arranged. On 29 October he
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explained that the marble base need not bc sent (so this can
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be dated to 1909) and also that the new cast might take a few
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days more than anticipated `as one of the smaller enamels has
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bccn troublesome and requires a fresh piece casting'. The
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bronze was no. 1078 in the British Section of the
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International Fine Arts Exhibition.
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An additional letter by Bayes concerning the group survives
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in the Department's archives dated 19 December 1927 in
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response to an enquiry concerlring the sculpture by Andrew
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Shirley. Bayes cxplaincd that Brocklebank's bronze was a
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replica of the Chantrey purchase now in the Tate Gallery
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which was exhibited in 1910 but adding the information that
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the `wooden pedestal was executed for Mr Brocklebank-the
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following year'. It was in fact cxccuted for him in the year
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following his purchase of the 1909 Academy version, as we
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have seen. The whole business is made more confusing by
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the fact that the most accessible published illustration of
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SGj#71¢ is fig. 197, pl. CVII, of Herbert Maryon's A4lodG"
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Sc#/Pfz¢7.c (I.ondon,1933), in which a bronze of the first type
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is captioned as being in the Tate Gallery. On the whole the
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first type-with the ring-seems to have been the most
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popular and scvcral casts of it are known: one, formerly
belonging to Sir George Frampton, was with the Armstrong-
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Davis Gallery in Arundel, Sussex, in 1985 (when illustrated
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in an adrcrtisemer[t in the National Art-Collections Fund
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Rcp¢.ew), one was sold at Sotheby's, I.ondon, 12 April 1985
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(lot 257), one remains in the Bayes family collection, and
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another is in the Walker Art Gallery, Liverpool. Something
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of the reputation which the sculpture enjoyed for its complex
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dynamism (which provides a link between the New Sculpture
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and the angular realism of H. S. Jagger) is conveyed by
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Maryon's praise: `probably no other equestrian group extant
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. . . would better repay a prolonged study of its composition'.
7
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BRITISH SCULPTURES, BY ARTIST'S NAME
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BRITISH SCULPTURES, BY ARTIST'S NAME
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BRITISH SCULPTURES, BY ARTIST'S NAME
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Wuan BEHNES ( 1795-1864)
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@@PROCESS
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448. Portrait bust of Samuel
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Woodbum
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67.8 cms. (height); 12.9 cms. (height of soclc); 123.2 cms. (height
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of pedestal)
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Carrara marble. Bust is chisellcd behind on the supporting shaft (as
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li:;utalo¥t:r:::n=S!:;:stBeEdH::e/alsscou:;cro=D::i::e:2i.h:tfcie
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is set on a Camra marble columnar pcdcstal made in three pieces:
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base, principal shaft, and top recessed section of shaft. The pedestal
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is chiseued with dlded letters: `SAMUEL WooDBURN / 1786-
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1853 / THROUGH WIIOSE PUBLIC SPIRIT / THE LAWRENCE
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COLLECTION / OF DRAWINGS BY / RAPHAEL AND
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MICHEIANGELO / WAS SECURED FOR / THE UNIVERSITY / 1845'.
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This must bc the bust, or a version of the bust, exhibited by Behnes
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at the Royal Academy in 1833 (no.1201, `Marble bust, Sanucl
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Woodbum, Esq. '). It was presumably commissioned by Woodbum,
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and was inherited after his death in 1853 by his sister by whom it
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was bequeathed to the University in 1865. Recorded in the
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Donations Book on p. 54 a.s bequeathed by the sitter's `brother
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Miss Woodhouse'. More correctly recorded in the H¢„dfroofe G#¢.de
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of 1865 as in `the Fireproof Gallery containing the Raphacls and
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Michclangelos . . . bequeathed by his sister Miss Woodbumc'. C. F.
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Bell recorded in his first report as Keeper of the newly formed
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Department of Fine Art in 1908 that he had set up, in niches at the
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top of the principal staircase, Guelfi's busts of the Pomfiets (scc
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Nos. 516, 517), and, in the same spirit of institutional piety, `an
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appropriate inscription was cut upon the base of Samuel Woodbum
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by W. Behncs, which has been placed in another of the niches'-
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prcsunably the central one subsequently occupied by the /#¢¢.
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(No. 473) and now by the E¢#/ a/Ar#"de/ (No. 472). The bust was
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cleaned by REthleen Kimber and C. P. Bartram of the Department
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of Antiquities in the 1970s.
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A ful account of woodburn's part in the acquisition of the
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drawings by Raphael and Michelangelo, formerly in the
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collection of sir Thomas Lawrence, is given in Sir Karl Parker's
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introduction to his catalogue of the Ashmolean's Italian
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drawings. Woodbun bought the great collection of drawings
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(which he had himself helped Lawrence to fom) after
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Lawrence's executors falcd to dispose of them as I.awrence
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had hoped. Then, in accordance with I.awrence's wishes, but
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with a patience Lawrence could not have anticipated,
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Woodburn delayed selling them in case they could bc placed,
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as the group by Raphael and Michelangelo eventually were,
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in a public institution.
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In 1832 Behnes was at the height of his powers, but already
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encountering some financial difficulties. Bankrupt in 1861,
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he died, a pauper in the Middlesex Hospital, three years later,
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a year before this bust was presented.
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10
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BRITISH SCULPTURES, BY ARTIST'S NAME
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Sir Joseph Edgar BOEHM (Joscf 86hm) ( 1834L90)
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@@PROCESS
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449. Portrait bust of John Ruskin
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59.5 cms. (height)
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Terracotta, hollow slip-cast as one piccc (including waisted square
415
soclc). The interior is a hot orange colour, the exterior toned with
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a paler clay slip applied in very liquid form (granules are caught in
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whiskers and hairs on proper left side of face). Incised `BOEHM fecit',
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the `fecit' partially illcdble. The indistinct lettering, like the bluntness
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of details such as buttonholes, suggests that there was little hand-finishing
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after casting. The shirt-collar to proper left has bccn
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chipped.
422
Presented by T. W. G. Acland in 1932, in accordance with the wishes
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of his father, Dr Thcodore Dyke Acland, who had died in April
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1932. Dr Acland had presumably inherited it from his father,
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Ruskin's ffiend Sir Henry Wentworth Acland Bt. (see No. 549).
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T. W. G. Acland wrote to the Director of the Taylor Institution
427
offering the bust on 17 February 1932, and then sent a copy on 20
428
April, having had no reply. The Secretary of the Taylorian called on
429
the Kccper of the Ashmolean (E. T. Lecds) on 22 April. heeds
430
wrote to Acland explaining that he must have intcndcd the
431
Ashmolean not the Taylorian and asking him to walt until Mr Clark,
432
Keeper of the Department of Fine Art, returned from abroad. Leeds
433
then forgot about the matter. Acland wrote again on 6 October.
434
Lecds replied on 10 October saying that Clank would like to know
435
more about it. Clearly there was some uncertainty as to the
436
desirabilfty of the gift (the marble version being already in the
437
Museum). However, on 23 October Grace Muirhead, who had
438
bccn housing the bust, wrote that she would deliver it to the
439
Museum on the following day and would collect it later if it were
440
not wanted. It was never collected.
441
The plaster version of Boehm's statue of Ruskin's hero Carlyle,
442
which was exhibited at the Royal Academy in 1875, was
443
praised by Ruskin in high terms in his Ac¢dc7„y Nofcf for that
444
year ( Wo#fa, 39 vols., Library Edition (London, 1903-12),
445
xiv. 288-9) as `a noble piece of portraiture' recording both
446
`mind and features' of `my dear master'. Ruskin approved of
447
Boehm's style as an alternative to the `Hellenic academy
448
sculpture'. He was taken by Carlyle to Boehm's studio where
449
the sculptor delighted him-`f#c¢ a duck-the very ideal of
450
noblest intense Germanism', he wrote to Mrs Severn on 26
451
June; `a jewel, not a Jew. A perfect type of intense blue-eyed
452
Harz-bred Germany', hc wrote to Charles Eliot Norton on
453
15 July (ibid. xxxvii. 169). Although born in Vienna, Boehm
454
was in fact of Hungarian extraction. Ruskin hoped Boehm
455
would ask to `do' him, but the first mention of a sitting comes
456
in a letter, probably of November 1879, to his friend Dr Henry
457
Acland (later Sir Henry): `For the bust I shall only be too
458
trad to sit to Boehm anywhere and any time hc likes, and
459
will stay in town as long as necessary.' On 1 December that
460
year he informed Miss Sara Anderson that he was going `over
461
to Kensington every day to Boehm for clay yet more "like"
462
than Herkhomer'. Alfred Gilbert, then acting as Bochm's
463
assistant, recaued (or claimed to recall) the comedy of trying
464
to conceal busts of Millais from Ruskin and busts of Ruskin
465
from Millais (I. MCAllister, A//rc¢ GG./4G# (I.ondon, 1929),
466
34-5). When asked by Marion Harry Spielmann for
467
recollections of the sittings, Boehm would reveal nothing but
468
did claim that he `never saw any face on which the character
469
and the inside of the man was so clearly written. He can never
470
have tried to dissimulate' (`Some Portraits of John Ruskin',
471
A4¢g#2;¢.„c a/A# ( 1891 ),122). Ruskin himself was a little
472
uneasy about the bust, describing it as of `extreme and, more
473
than I quite like, historical veracity' ( 777G Br¢7¢n.7ood DG.¢7rfef
474
a/7o4» A"jfe¢.79, ed. H. G. Viljoen (New Haven, ConTri.,1971 ),
475
@@PROCESS
476
535).
477
The bust was first exhibited in terracotta at the Royal
478
Academy exhibition in 1880 (no.1635) and it has been
479
assumed that this is the version now in the Ashmolcan
480
M:usoum (M. Stockel. Royalist and Realist: The itfie a,nd
481
Work Of Sir Joseph Edyar Boehm (INow Yock and I+ondon,
482
1988), 411). A flyshcct was published in Oxford on 27 May
483
1880 drawing attention to a full-length sketch in clay, also to
484
bust portraits one of which was on view at the Royal Academy
485
(as mentioned above), the other on view in the Turner Room
486
at the University Galleries. `Friends have cxpresscd a desire
487
that a statue of the author of A4lo¢e77¢ P#¢.7¢£g7tf should bc
488
placed in the School of Drawing, Oxford, which owes its
489
existence to his generosity and bears his name.' An appeal for
490
subscriptions had been pubhshed in 777c T¢.owcf on the day
491
before, with Prince Leopold and the marquess of salisbury
492
among the conimittcc members. The scheme, engivecred by
493
Acland, did not cnd in triumph. `Ultimately a marble bust
494
was placed in the Ruskin Drawing School', Ruskin's editors
495
observe.
496
The marble bust survives in the present premises of the
497
Ruskin School in the High Street. It is notably more precise
498
in detail than the terracotta version in the Ashmolean, showing
499
for example the buttonholes of the lapel more clearly and
500
even the rclicf stitching around them. It is also larger in size,
501
being 64 cms. high, on a soclc with a plinth 19 cms. square.
502
This proves that the Ashmolean's terracotta is not the origival
503
clay model (if that survived) but was made from the plaster
504
cast of that origival clay, which would also have served as the
505
prototype for the marble-whereas the marble would have
506
turned out the same size as that plaster cast, the terracotta
507
cast would have shrunk in firing. At least two terracottas were
508
made: two are recorded today, that in the Ashmolean Museum
509
and one in a private collection in Ijondon. There may well
510
be others. A bronze cast is said to be in the Geelong Art
511
Gallery, Victoria, Australia, a plaster cast is in the National
512
Portrait Gallery, I.ondon (Stockcr, op. cit. 411 ), and another
513
is in the Ruskin Gallery, Sheffield. Such plaster casts could
514
bc made from the moulds used for the terracotta edition, but
515
only after the latter had been completed, since the greasy
516
parting agent placed in the interior of the assembled mould
517
for casting plasters rcndcrcd it unfit for the clay, which needed
518
to be dried by contact with untreated plaster (a process
519
explained by Boehm in a letter of 31 December 1878 to
520
Thomas Dixon quoted by Stocker, op. cit. 232). If, as would
521
seem likely, the bust in the Ruskin School of Drawing is the
522
only version in marble, then it was the one exhibited by
523
Bochm at the Grosvenor Gallery in 1881. There seems to bc
11
525
BRITISH SCULPTURES, BY ARTIST'S NAME
526
no evidence that it was executed previous to the subscription
527
in 1880. The clay sketch for a full-length statue has not been
528
traced.
529
Ruskin continued to be impressed by Boehm's work and
530
gave him a commission for `twelve flat medallions, Florentine
531
manner, life size, of six British men ind six British women, of
532
typical character in beauty; all to be looking straight forward
533
in pure profile, and to have their hair treated with the Grcck
534
furrow' (letter to Charles Eliot Norton of 25 February 1884,
535
Library Edition of Wo7ilef, xxxvii. 475). Nothing, however,
536
seems to have come of this, Boehm being frantically
537
overworked and Ruskin of uncertain mental health.
538
Bochm's bronze portrait of Acland, dated 1887, is in the
539
University Museum.
540
12
541
BRITISH SCULPTURES, BY ARTIST'S NAME
542
Domenico Brucciani and Company, I.ondon
543
After Sir Joseph Edgar BOEHM (Josef 86hm) ( 1834-90)
544
@@PROCESS
545
450. Thoroughbred gelding
546
39 cms. (height including wire armature of ear);
547
32.8 cms. (length of base); 11.3 cms. (width of base)
548
Plaster. Solid cast. Seams from piece-mould unremoved. The tail
549
partially broken, the ears broken off to expose wire armature, the
550
fore legs chipped, the near one badly, exposing thicker wire armture.
551
Scratched on the base of the plaster with bold angular capital letters:
552
`D BRuCCIANI 8c Co LONDON 276.' Plaster now very dirty.
553
Transferred from the basement store of the Department of
554
Antiquities in 1986. Possibly residue of the teaching collection of
555
the Ruskin School of Drawing.
556
The firm of Brucciani were the leading suppliers of plaster
557
casts in Ijondon in the last century (for a sketch of the firm's
558
history see F. Haskell and N. Penny, L'¢7¢f¢.co „e//¢ f}o".a de/
559
gusto (T\iri]n. \984). L44-5). A Catalogtte Of Sculgture ky D.
560
Brmcciani, 40 Russell St., Covent Garden, `indated but
561
rectstcred in libraries in 1880, and so certainly published by
562
then, includes an introduction drawing attention to a `New
563
and Unique Collection of Animals by eminent Artists in Paris,
564
8cc', including horses by `Monti, Fraton, Macarthy, Lady
565
Dacre, Galnsborough, Mane [f¢.c], Rosa Bonheur' which arc
566
then hsted on pp. 48-50. The line appears to have been a
567
success and, after Boehm's death in 1890, the firm included
568
casts after the highly successful bronze portraits of horses that
569
hc had made popular with the English aristocracy. In the
570
Catalogtte Of Casts fior Schools which the Board of Edttcation
571
Co„f¢.de7tf S#¢.£4b4/G/or Scfroo/f, undated but issued by the fim
572
previous to 1906, no. 276 (as also no. 275) was a horse by
573
Boehm costing los. 6d. No. 276 was still on offer in the
574
1914 catalogue.
575
Perhaps by the factory in Soho, near Birmingham, of Matthew
576
BOULTON ( 1728-1809)
577
@@PROCESS
578
451 and 452. Pair of obelisks
579
42.85 cms. (height); 8.85 cms. (length and width of plinths)
The obelisks are composed of pieces of Derbyshire fluorspar (blue-john)-
581
the pedestals consisting of separate blocks, the tapering
582
obelisks themselves of three pieces. The plinth, the leaf-moulding
583
above it, the platform above the pedestal, the corner ornaments of
584
acanthus, the two bands of guilloche ornament concealing the joins
585
in the obelisks, the capping, and the cone finial are in each case
586
composed of a separate clement of bronze, fire-gilded. The elements
587
have been reassembled in this century in a manner that makes
588
examination impossible. `Bouch Bequest 1963' is painted in black
589
on the underside of each plinth.
590
Bequeathed by Major T. Bouch, 1963. Received by the Museum
591
on 20 November 1963. For more on the bequest see No. 469. Lent
592
to the City Art Museum, Derby, on 27 May 1981.
593
Neither the workmanship nor the design of these obelisks is
594
of very high quality, but it is comparable with the more
595
routine productions of Matthew Boulton's Soho factory (for
596
which see No. 608). The separate pieces of fluorspar appear
597
to have come from the same block for the same bands of dark
598
mauve are in both cases continued through the different
599
pieces. There is no mention in the Boulton archives of the
600
production of obelisks at Soho but some are mentioned in
601
carly sales and there are drawings in the pattern book; the
602
latter do not correspond to these but Sir Nicholas Goodison
603
regards the components as very close to Boulton's work and
604
`would be inclined to think that the obelisks came from his
605
factory' (letter of 19 June 1989).
13
607
BRITISH SCULPTURES, BY ARTIST'S NAME
608
Probably Gcorgc BULLOCK ( 1782/3-1818)
609
After Gcrard Janscn and another
610
@@PROCESS
611
453 and 454. Masks of shakespeare
612
and an unbearded male, probably
613
Wri||iam Wordsworth
614
28.5 cms. (height of mask of shakespeare); 38.5 cms. (height of
615
support for Shakespeare); 30.7 cms. (width of support for
616
Shakespeare); 27.8 cms. (height of ?Wordsworth); 38.2 cms.
617
(height of support for .>Wordsworth); 30.5 cms. (width of
618
support for .>Wordsworth)
619
Plaster of Paris discolourcd from ingrained dirt. There are scratches
620
especially to the head of wordsworth (No. 454). The heads have
621
bccn cast separately and stuck to the supports. There is an old break
622
across the support for the Shakespeare mended with cement and a
623
more recent break across the proper right top comer of the
624
companion bust which has been mended with glue. Wire rings are
625
attached to the backs of both supports.
626
Provenance unrecorded but thcsc are perhaps the `plaster portrait
627
reliefs of "Comtc Chambord" and "Tasso" ' included in an old
628
typed list mostly of miniatures, headed `Portraits &c' in the `Mcd.
629
Room' which was signed by E. T. heeds, Keeper of the Dcpartmcnt
630
of Antiquities, on 12 March 1932. The T¢so was specified as the
631
Sft of Mrs Stonehouse in 1915. It is more probably connected with
632
`A plaster mask of the poet Wordsworth, taken from the life in 1815.
633
Presented by Miss [ Elizabeth ] Wordsworth' ( RGPo77 a/ £¢c 4cGPGr a/
634
the Picture Galleries (+905). 8\).
635
The cabinet maker and sculptor George Bullock was
636
commissioned by the antiquarian John Britton to make a cast
637
of the half-length effigy of shakespeare by Gcrard ]ansen in
638
the Church of Holy Trinity, Stratford-upon-Avon, in 1814:
639
the work was accomplished with some difficulty in Dcccmbcr
640
of that year. A mezzotint by W. Ward ARA after the painting
641
by Thomas Phillips RA after the cast by Bullock was pubhshcd
642
on 23 April 1816 to celebrate the bicentenary of the poct's
643
death. (An impression of this rare print is in the Hope
644
Collection in the Ashmolcan Museum.) Casts survive in the
645
Walker Art Gallery, Liverpool, in the Soane Museum, and at
Abbotsford. A cast in Shakespeare's Birthplace, Stratford-upon-
647
Avon, is of the head and shoulders only. (For these see
648
Chive wdrr[wrigivl (ed.), George Bttlloch, Cabinet Maker
649
(Ijondon,1988), mos.15, 67, 68, pp. 77-8,141-2.) This cast
650
of the front of the head of shakespeare appears to be made
651
from the sane mould: it is particularly close to that at
652
Abbotsford although even more dull in its surface. There is
653
another such mask in the National Portrait Gallery, I.ondon
654
(in reserve, 185 A), framed and with the support painted
655
black. It was presented by Albcrt Way FSA (d.1874). The
656
identity of the other portrait has not been established for
657
certain. It is likely to bc another eminent poet and bears a
658
very slight resemblance to Milton (Spenccr might be
659
suspected but he is always depicted with a beard). The best
660
candidate is Wordsworth. It is known that a mask of
661
Wordsworth supposedly taken from life in 1815 was presented
662
to the Museum in 1905 (as mentioned above). This might
663
have been made by Bullock, who is known to have been
664
interested in finding modem companions for his Shakcspearc
665
and cast the head of Sir Walter Scott for this reason. The high
666
brow, prominent eyebrows, long straight nose, and spare hair
667
parted near the centre all correspond with the portrait of
668
Wordsworth painted by Boxan. If this is correct then it is
669
curious that the companion mask of Shakespeare is not
670
mentioned in the Museum's records.
671
BRITISH SCULPTURES, BY ARTIST'S NAME
672
Attributed to D. CARDOSI (active mid-ninctecnth century)
673
After Franz Thaller and Matthias Ranson
674
@@PROCESS
675
455. Bust portrait of Admiral Lord
676
Nelson
677
66.2 cms. (height including integral socle)
678
Plaster of Paris. Hollow cast with very thin walls. The seams of the
679
piece-mould are very evident. The thin shell of plaster is perforated
680
below the proper left epaulette and on the top of the head to proper
681
right. The plaster is discoloured with ingrained din but the face
682
appears to have been dehibcrately coloured a golden brown, perhaps
683
from a light coat of shellac applied only in this area.
684
Provenance unrecorded.
685
Nelson sat to the Austrian sculptor Franz Thaller when he
686
was in Vienna in August and September 1800 at the same
687
time that hc was being painted by Hcinrich Friedrich Ftiger.
688
A life cast may also have been supplied to the sculptor. The
689
completed marble bust, which is now in the National Maritime
690
Museum, is inscribed `Franz Thaller ct Matthias Ranson
691
Vicnnac Aust. MDCCCI' and was sent to I.ondon in that
692
year. It was extensively copied and also served as the model
693
for Flaxman's statue on the hero's tomb in St Paul's Cathedral.
694
A bronzed plaster cast with the seams removed is in the
695
National Portrait Gallery with the name D. Cardosi Scratched
696
on the balck. (R. Walker. Regeney Portraits, National Portrait
697
G¢//cry (Ilondon, 1985), i. 362, no. 2668, ii, pl. 2734).
698
Vestidal seams on this plaster correspond with those which
699
arc very evident on the Ashmolean bust. The size is the same,
700
as is the soclc (which is square in the marble). Cardosi is
701
likely to have been an Italian /o777¢¢}orG working in I.ondon.
702
Hc is not othcrwisc recorded. The thin shell of the cast
703
suggests a date in the second half of the ninctcenth century.
15
705
BRITISH SCULPTURES, BY ARTIST'S NAME
706
Sir Francis CHANTREY ( 1781-1841 )
707
@@PROCESS
708
456. Sketch model for a statue of
709
Mrs Dorothy Jordan with her
710
children
711
31 cms. (height)
712
Terracotta (possibly un fired clay)
713
The University Gallery Donations Book records, in February 1863,
714
the bequest of a `Miss Jones' consisting of copies made by her of
715
Correggio, a 4¢jj.a-ri/G.ova of Queen Adelalde by Sir Francis Chantrey,
716
and `a small sketch in clay for the statue of Mrs Jordan and her
717
children'. The group has often been assumed to have been a part of
718
the Chantrey gift of 1842. Miss Jones may well have been related
719
to the sculptor's friend and biographer George Jones whose widow
720
presented works to the University Galleries in April 1873. The
721
sculpture was given an incorrect provenance in the catalogue of the
722
chlkji:riron Sir Francis Cha!mrey 1781-1841: Sculptor of the Great
723
(I.ondon, National Portrait Gallery, and Mappin Art Gallery,
724
Sheffield,1981), no. 28.
725
Very few sketch models survive by English sculptors of this
726
period. This resembles, in colour of clay and summary
727
handling, Chantrey's model for the Bishop Hcber monument
728
(Victoria and Albert Museum, A. 29-1933). The completed
729
marble, now in Buckingham Palace, represents Mrs Jordan
730
with a different hairstyle, more ample drapery, and attributes
731
of pipes and a mask by her feet to indicate her profession. She
732
is also feeding an infant rather than carr)ing a sleeping one.
733
Mrs Jordan, who had been the mistress of william, duke of
734
Clarence, and had borne him ten children, died in poverty in
735
Paris in 1816. The commission, the cost of 2,000 guineas,
736
and the proposed location in Westminster Abbey were
737
entered in the sculptor's ledger in 1831. Other sources enable
738
us to be more exact about the date of the commission of this
739
monument and also reveal the uncertainty concerning its
740
location.
741
A letter by Maria Edgeworth to her mother of 5 January
742
1831 states that `the king has just sent for Chantrey and
743
bespoken a monument for Mrs Jordan-to be put up where
744
she died near Paris!' (M. Edgeworth, Lc#G7:t/yoow E"g/¢„d,
745
JBJ3-44, ed. C. Colvin (Oxford,1971), 462). Chantrey
746
rccaued how anxious the king was about the memorial and
747
how concerned to hear his `opinion what it should be, &
748
where it should be placed'|hantrey not being able to help
749
much with the latter enquiry, the king `then went into a
750
thousand particularitics of their private life, always ending
751
that she had been an cxccuent mother to her children. He
752
said he knew he had been much blamed for his conduct to
753
her, but that from the time they parted he had allowed
754
2,000 I a year, which was regularly paid cvcry quarter,
755
although often with great difficulty to himself to find the
756
mane+/' Uounals and Correspondence Of Miss Bell.ry, ed. La:dy
757
Tcresa Lewis (Ijondon,1865), iii. 4634r-ntry for 25 July
758
1839, recalling a conversation with the sculptor the previous
759
evening). The marble group was completed in 1834 and, on
760
the king's death, was inherited by the first earl of Munster,
761
Mrs Jordan's eldest surviving son.
762
16
763
BRITISH SCULPTURES, BY ARTIST'S NAME
764
CHELSEA factory
765
@@PROCESS
766
457. Head of a lauching child
767
19 cms. (height); 11.9 cms. (width across opening of neck);
768
o.8 cms. ( approximate thickness of porcelain wall)
769
Soft-paste porcelain, glazed and decorated with enamel colours. Pink
770
orange is employed for lips and mouth, and the corners of the eyes,
771
and also more funtly for the cheeks and elsewhere in the flesh. A
772
lilac grey is employed for the hair (in hatched lines of varied intensity
773
gving the impression of a tortoiseshell pattern), for the upper eyelids
774
(each indicated with two fine Lines-the lower lids are unmarked),
775
the irises, the eyebrows (rendered with fine hatched lines, slanting
776
from upper right to lower left in both cases) and for the nostrils
777
(very funtly). The decoration docs not follow the model exactly.
778
The hair is indicated on the forehead where there is no relief and
779
the numerous tiny teeth outlined in orange pink bcncath the upper
780
lip arc not incised. There are grey peppery specks most evident in
781
the neck and lower part of the cheek to proper left and in the highest
782
part of the forehead. The unglazed body of the porcelain is evident
783
on a few points and ridges of the curls. There is also a slightly
784
granular texture in a few of the curls. The line across the proper
785
right side of the face, accentuated by some of the pink orange being
786
gathered on it, appears, from examination of the hollow interior,
787
to bc a casting seam which has slightly opened in firing. There are
788
also small firing cracks in the back of the head. There is an old break
789
across the neck passing up into the hair which falls on the child's
790
left shoulder, now accentuated by discoloured adhesive. Mounted
791
on a mahogany stand: the origival soclc is hard to envisage.
792
Placed on loan by Cyril da Costa Andrade of Morocco House,
793
Bayards Cove, near Dartmouth, Devon in 1957. Given by him in
794
1965 in honour of sir Winston Churchill. Registered on 25 January.
795
From the collection of C. T. Fowler who is said to have discovered
796
it shortly before August 1938 (when it was published in the
797
Co~„oS.jfe#?-see below) `on top of an old coal bell with
798
heterogeneous objects in a I.ondon shop'. For other gifts to the
799
Museum from Cyril Andradc scc Nos. 487, 570, 5934. The head
800
seems always to have been displayed by itself in a glass case on a side
801
table in the company of British eighteenth-century paintings in the
802
Chambers Hall Gallery.
803
This radiant and vivacious head, known in no other ceramic
804
example, is the most celebrated piece of porcelain in the
805
Ashmolean Museum. It has always been regarded as an early
806
product of the Chelsea factory: the distinctive colouring and
807
handling of the decoration are characteristic of the factory in
808
its early years (see for instance the orange lips and outlined
809
tccth of the children with a fish flower holder, or the hatched
810
rendering of the fur of the rabbit on the tureen, both in the
811
Victoria and Albcrt Museum (c.196-1926 and Schr. I-151a)
812
and the firing problems, evident in the speckling and the
813
sean, are consistent with the experiments which the factory
814
was making around 1750. The head was published, soon
815
after its discovery, by Dr Bellany Gardner in Co""o¢.ffG#7
816
(Aug. 1938: 59ndo-with a colour plate on the cover). Hc
817
Was not content to identify it as Chelsea, but proposed that
818
the model was by I.ouis-Francois Roubiliac, the great French
819
sculptor who settled in I.ondon in the 1730s, and also
820
Considered that `nothing' would be more `natural' than for
821
it to be a portrait of Roubiliac's daughter Sophia, or Sophie,
822
born in August 1744, whose godfather was Roubhiac's
823
compatriot and fellow Huguenot Nicolas Sprimont, who
824
managed the Chclsea factory.
825
Roubhiac's givl angel in the monument to the duchess of
826
Montagu is distinguished by a top knot in her hair: curls were
827
not then enough to suggest femininity and there is no reason
828
to suppose that this head is female. It would also bc surprising
829
if it wcrc a portrait. And it is not certain that it is a child,
830
Nevertheless Gardner's theory that it is a portrait of sophie
831
won the support of Mrs Esdaile, then the leading expert on
832
Roubiliac, and Andrade, the donor, was very strongiv
833
attached to it (the Museum discouraged scepticism on the
834
subject for this reason). That there is some association with
835
Roubiliac is not impossible for he was said to have studied
836
with Pcrmoser, whose style the head recalls, and hc is known
837
to have studied and admired Bernini, from whose inventions
838
the head is certainly derived. But there is no proof of Roubiliac
839
working for the Chelsca factory and no close relationship
840
between this head and any of his sculptures.
841
It would seem to rcprcsent a novel departure in porcelain.
842
Other children's heads of a similar size were made by
843
European factories, but, it seems, only at a slightly later date:
844
J. J. Kindler's animated and idcalizcd busts of Prince Ijouis
845
Charles de Bourbon and his sister Princess Marie Zephirine
846
seem to have been modeued for the Meisscn factory in about
847
1753 and the pair of children's heads modelled by Franz
848
Anton Bustehi at Nymphenburg date from 1760-1-their
849
soclcs, incidentally, help us to envisage what was perhaps
850
intended for this bust. A HG¢d a/a Bay after a model by
851
Duqucsnoy made by the Chelsca factory in the same period
852
as the Ashmolcan's head suggests an interest in sculptured
853
models (Victoria and Albert Museum c. 34-1975).
854
Bemini and Pemoser have already been mentioned as
855
sources. There is a connection with the type of head that
856
Bernini created in the mid-1640s for the angel administering
857
intolerable pleasures to St Teresa in the shrine of that saint
858
in S. Maria della Vittoria in Rome and then developed for the
859
angel lifting Habalckuk by a lock of hair (in the Chid Chapel
860
of s. Maria del Popolo, Rome, in the mid-1650s) and for the
861
angels and cherubim in the glory above the Cathedra Petri
862
in St Peter's ( 1657nd6). The porcelain head has the same
863
dynamic mobility of expression and the same bold plasticity
864
in the modelling of cheeks and mouth and eyes, and above
865
all in the broad sweeping but pointed locks of hair. What is
866
unlike Bemiri is the slanting of the eyes and the shght hint
867
of the sublime and divine becoming grotesque and exotic
868
which suggests the development of Bcrnini's style by Pcrmoser
869
in whose work martyrs and harlequins, devils and Pekinese,
870
are so closely auied.
871
The origival model for the head is likely to have had a
872
companion, responding to it in movcmcnt and
873
complementing it in expression. Certainly the numerous
874
plaster, terracotta, marble, and bronze versions of the head
875
are frequently paired with a head of a crying child. None of
876
the versions in these media that I have studied is likely to
877
have been made before the late eighteenth century but they
17
879
BRITISH SCULPTURES, BY ARTIST'S NAME
880
may all the same reflect prototypes which predate the
881
porcelain version. (For bronze versions see Christie's,
882
I.ondon, 9 April 1987, lot 116; also Co"»oS.ffc#y (Nov.
883
1938), 276; Hcim Gallery, Summer Exhibition 1967, p.14,
884
no. 30, attributed to Artus Quellinus the elder; and K. Corey
885
Tbccbhe, European Bronz,es in the Royal Ontario Musettm
886
(Toronto, 1982), no. 84, attributed to Artus Quellinus the
887
younger.. 8. v . Gcitz-M6ha. Catalogtte Of Scttlpture in the
888
L¢.e4¢.egho#f, F7i¢7¢4/#7¢, ii (Melsingen, 1988), n. 82;
889
Sotheby's, New York, 9-10 January 1990, lot 102. )
890
Versions of the laughing child without a pair, dating from
891
the eighteenth century and with clear British connections, do
892
suggest that the porcelain version might not have had a pair.
893
What appears to bc a plaster version of the laughing child
894
appears, as Malcolm Baker has pointed out to me, in a painting
895
of the late 1770s probably by J. H. Mortimer and representing
896
Mortimer, Joseph Wilton, and a student. There is also a signed
897
marble version of the laughing child by Nollekens in the
898
Hermitage, Leningrad, also with no companion.
899
As a pair the heads may have been meant for Heraclitus
900
and Democritus, the cheerful and gloomy Greek
901
philosophers. It is known that Thomas Regnaudin exhibited
902
a pair of Ire-size plaster busts of the infant Heraclitus and
903
the infant Dcmocritus at the Salon of 1673 (untraced) and a
904
pair of bronze heads of the sane by Fran€ois Girardon are
905
recorded as made for a friend at Troyes and arc likely to be
906
those now in the Mus6e des Beaux-Arts in that city (F.
907
Souchal. French Sculptors Of the 17th and l8th Centuries
908
(Oxford,1981 ), ii. 734, nos.101 and 102). A pair of laughing
909
and crying children can be seen on a side-table in Willcm van
910
Haecht's painting of 1628 showing the gallery of Cornclis
911
van der Geest (Rubens House, Antwerp) and a marble head
912
in the Staatliche Museen, Berlin-Dahlcm, appears to be a
913
version of the crying child of these two (Inv. 19/75). A
914
bronze head of such a crying child is included in an opulent
915
still life with emblems of vanity signed by Pieter Boel in 1663
916
(Musec des Beaux Arts, Lille-see no. 8, p. 44, of lof; S¢.;c/e
917
de R#Z7G"f (Grand Palais, Paris,1977-8) ). Some heads of
918
children dating from the sixteenth century suggest that this
919
theme was already popular then, although none seem to
920
survive as pairs. (The grimacing bronze boy in the Pierpont
921
Morgan Library is a notable cxamplc which could easily belong
922
to this category. ) The idea of a pair of angels, one full of joy
923
and the other of sorrow, can certainly be traced back at least
924
to Michelangclo's plans for the tomb of Pope Julius 11 (as
925
described in Condivi's Life). The most popular versions o.f
926
this theme, however, arc relatively modern-the paired
927
bronze heads of the Ashmolean type and, still more, the paired
928
miniature bronze heads much reproduced in the last century
929
as `Pleur et Rire' or `Jean qui pleur et Jean qui rit' which are
930
supposed to derive from terracotta models by Houdon (`I.e
931
Ris, I,e Chagrin et le d6dain', three `tetes de caractere en tcrre
932
cuite' listed by the artist-but without reference to them
933
being infantile models; see L. Reau, Ho#do7¢.. S¢ p¢.G Gf fo7¢
934
a7#p7.c (Paris, 1964), i. 94, in. 22, no. 55, and pl. XXIV).
935
18
936
BRITISH SCULPTURES, BY ARTIST'S NAME
19
938
BRITISH SCULPTURES, BY ARTIST'S NAME
939
RIchard CHICHELEY (active 1720s and 1730s)
940
@@PROCESS
941
458. Clock case crowned by a
942
crowing cock and a figure of Time
943
and flanked by boy angels
944
29.7 cms. (height); 14.35 cms. (length at foliate feet); 10.5 cms.
945
(width at foliate feet)
946
Ijimcwood. The case is constructed in three parts. The figure of
947
Time and his base slot into the top of the case. Both of Time's
948
wings have been broken and glued at the point of contact with the
949
back. Time's forelock and left and right hands have been broken
950
off and are missing, as is the scythe which he wielded-xcept for
951
the blade among the flowers by his right foot. The main body of the
952
case consists of the central opening (with its old brass dial and iron
953
hour hand), the cock, the flanking angels, the scrolls above and
954
below their feet, and the shield with its elaborate monogram. Most
955
of the raised right hand of the angel to proper left has been broken
956
off and is lost, and so too has the emblem (presumably the moon)
957
which he held aloft. The end of his right wing, also a flourish of
958
drapery at his back, are broken off and lost. The other angel has lost
959
his left wing and the ends of some of the points of his star. The
960
four foliate feet into which the case of the clock is fitted fonn a
961
separate unit. There arc traces of adhesive below it. Behind the base
962
is a paper label printed `1836 Cat: p.' with ` 141 / No. 401.A.' added
963
in black ink. On the flat back of the central body of the clock in black
964
ink is written: `Museo Ashmoleano / Geordus Clarke
965
LL:D: / 1736 / Ricardus Chicheley / Archisculptor
966
Chathamensis/Navalis/Fecit'.
967
Given by Gcorgc Clarkc in 1736 (see below). First recorded in print
968
as `A model of st Peter's Clock at Rome; carved by Chicheley' in
969
A Catalogtte of the Ashmolean Museum: Descriprion Of the Zoological
970
Specimens, Arwiquities, Coins and Miscellaneous Cttriosities (Oxford,
971
1836), 141, no. 401a.
972
For Chichcley scc also No. 459. He was evidently a carver
973
connected with the Royal Navy and with some official
974
attachment to the dockyards at Chatham. Payments are
975
recorded for hin and his partner Joseph Wade bctwecn 1726
976
and 1728 for work on the pediment of the west middle front
977
of Greenwich Palace-ccording to Gunnis who, however,
978
in his entry for Wade records the partner's name as
979
Bartholomew, rather than RIchard, Chicheley (R Gunnis,
980
D¢.cf¢.o„¢vy a/B".£¢.£¢ Sc„/Pforf ( I.ondon, 1968 ), loo and 411 ).
981
Gunnis also records payments for decorative stone carvings
982
(capitals, modiLLions, flowers, and mask heads) in the south
983
Pavilion of Quccn Anne's Court and over the chimney in the
984
kitchen of the south-west Pavilion (ibid. loo).
985
The clock has no resemblance to that on one end of the
986
upper reSster of the fa€ade of the Basilica of st Pcter's in
987
Rome but a connection with St Peter is suggested by the cock
988
(although this is appropriate to clocks anyway) and it is not
989
impossible that the clock is an illecttinate child of some
990
Roman seventeenth-century invention. The monogram on
991
the shield involves two Gs and two Cs and indicates the
992
donor, Dr George Clarkc ( 1661-1736), `Fellow of All Souls,
993
sometime burgess of the University, and one of Queen Anne's
994
Commissioners for executing the office of I.ord High
995
Admiral'. In 1719 he had given `a model of a fully rigged ship
996
made by Williani Ijee' to the Museum. (See R F. Ovcnell,
997
The Ashmolean Musettm 1683-1894 (Oxf;ord, \986), L\9,
998
@@PROCESS
999
137). His interest in sculpture is suggested by the fact that
1000
be preseITted aL group o£ Sun§on slaying the Philistine after
1001
Giambologna to Brasenose Collcgc in 1727 (it was removed
1002
in 1881). Hc was the architect of the Warden's I.odgivg at
1003
All Souls of 1704nd, the Library of Christ Church (begun
1004
1717), and, in consultation with Hawksmorc, he designed
1005
the new buildings for Worcestcr Couegc in about 1720 and
1006
for Magdalen in about 1730. The beauties of carly eightccnth-century
1007
Oxford owe more to him than to any other man.
1008
BRITISH SCULPTURES, BY ARTIST'S NAME
1009
BRITISH SCULPTURES, BY ARTIST'S NAME
1010
Perhaps Richard CHICHELEY (active 1720s and 1730s)
1011
@@PROCESS
1012
459. Royal arms
1013
11 cms. (height excluding lion on crown); 14 cms. (width)
1014
Boxwood. There are small losses to the thinnest portions of the
1015
foliate scrolls below the lion's tail, to the unicorn's back left leg,
1016
and the scrolls behind it. The uppermost forward curled end of the
1017
acanthus has been broken off on both sides; that to proper left
1018
survives (and has been photographed in place). The lion finial to the
1019
helm has been broken off but survives (and has been photographed
1020
in place). There is a crack in the shield to proper left near the front
1021
left hoof of the unicorn. A metal chain is attached to the unicorn's
1022
collar. On the reverse of the carving there is a black-bordered paper
1023
label printed with `oN LOAN FROM' and `18 . . .', with `Ashmolean
1024
Museum / Oxford' written in brown ink, together with a smaller
1025
paper label printed `1836 Cat: p' with `141' and `No. 401' in ink.
1026
There are also traces of a pink paper label. Scaling wax was once
1027
attached behind the helm and behind the unicorn.
1028
22
1029
I'resumably the `hatchment of the Royal Arms, finely carved', given
1030
to the Museum by George Clarke in 1736. For Clarke see No. 458.
1031
First recorded in print as `The FGng's arms finely carved in wood by
1032
Chicheley 1736' in A C¢£#/og"c a/ £bc Aj¢7coo/e¢79 M#fc#7#..
1033
Description of the Zoological Specimens, Antiquities, Coins and
1034
M;JCG//¢7¢Go#f C#r;ojG.f¢.cJ (Oxford, 1836), 141, no. 401.
1035
For Chicheley see the wooden clock case, No. 458. The 1836
1036
catalogue is not entirely trustworthy. 1736 is the date which
1037
is written on the wooden clock case, not on these arms.
1038
Perhaps the name of Chicheley slipped over from the clock
1039
case as well. It is easy to see how this carving would have been
1040
associated with the clock case, both being miniature carvings
1041
in wood, and it is easy to see how a tradition might have
1042
arisen that they were by the same hand.
1043
BRITISH SCULPTURES, BY ARTIST'S NAME
1044
Dora CIARKE (Dora Thacher Middleton, nee Clarke)
1045
(1895-1989)
1046
@@PROCESS
1047
460. Coloured girl from
1048
Massachusetts
1049
31.2 cms. (height); 5 cms. (height of plinth); 16.5 cms. (length
1050
and width of plinth)
1051
Rosewood, carved and polished. There are a few very slight vertical
1052
splits. Mounted on a block of highly polished black slate.
1053
Sold by the artist probably in 1962 or soon afterwards to her friend
1054
orovida Pissarro by whom it was bequeathed to the Ashmolean
1055
Museum in 1968 together with two of her own paintings. Rcdstered
1056
in December (with no day given) as `Head of a native Woman.
1057
Wood'.
1058
Dora Clarke, although still alive when this catalogue was being
1059
compiled (she died 20 October 1989), was not able to help
1060
with the cataloguing of her work. She studied at the Slade
1061
School between 1910 and 1916. Some impressive finished
1062
drawings of factories in Detroit are dated 1917. An album of
1063
photographs of her sculpture commences with a marble low
1064
relief dated 1922. This work, entitled 777c /egg"d a/S¢p¢.fr¢.,
1065
was exhibited at the Royal Academy in 1923. She exhibited
1066
frequently at the Academy between 1924 and 1934, also in
1067
1938 and then in 1953, 1955, and 1959. During the 1950s
1068
she also exhibited frequently at the Royal Society of British
1069
Artists. During the 1920s and 1930s she enjoyed considerable
1070
success, both receiving portrait commissions and selling work
1071
to important collectors of advanced taste.
1072
Many of her works were of exotic subjects and were
1073
fashioncd out of exotic natural materials, most of them
1074
carved-but she did also work in copper and aluminium. Her
1075
slate group 8¢.4¢. N¢ Tofo of 1925 and her ebony K¢fe¢.owo"¢o
1076
g¢.71/ of 1928 were bequeathed by Miss Gertrude Watson to
1077
the Albright Knox Museum, Buffalo, New York, her Pr¢.»cGff
1078
Be"yw a/ LJg#„d¢ in Japanese wood of 1928 was sold to the
1079
Ijondon County Council, and her GG.71/ £4¢.#4¢.„g in RIsii stone
1080
of 1932 was purchased by Manchester City Art Gaucry. There
1081
is a gap in the album, and there was probably a sharp reduction
1082
in her work, bctwcen 1941 and 1951.
1083
In 1936 she married Gervase Middleton, later Admiral
1084
Middlcton CB, CBE. Some letters from her to Orovida
1085
Pissarro, preserved in the Pissarro archive of the Ashmolean
1086
Museum, describe her lack of enthusiasm for givng dinner
1087
parties for sea-lords and her severe migraines and depression.
1088
She rcccived special treatment in a Chicago hospital in 1947
1089
and seems to have had friends and relatives in the USA (hence
1090
perhaps the subject of the Ashmolcan's carving). Her father
1091
had been an American citizen. The Ashmolcan Museum's
1092
sculpture is included in the album as made in 1962 and sold
1093
to Orovida who may have already owned other sculptures by
1094
her: a photograph in the Pissarro archive of her home,13
1095
Redcliffe Gardens, I.ondon Swlo, taken in the mid-1950s
1096
includes the K¢.feey" g¢.71/ ( probably a work dating from the
1097
1920s) next to the telephone.
1098
The Coloured girl fivm Mac§achusett§ was ."ustratcd .\n
1099
Fcrelyth and Bill Wills's Sc#/¢f#7ic ¢.7¢ Wood (Newton Abbot,
1100
1975 ), a book which expounds the attitude to sculpture which
1101
Dora Clarke herself shared-shape, colour, and texture of
1102
the material suggesting form and subject-matter. Dora Clarke
1103
was still active as a sculptor when this book appeared: the
1104
ebony group 7ZJc /¢.ffg"Gr of 1975-7 is the last work in her
1105
album. Many pieces were removed without authority from
1106
her studio when she left to live in a nursing home.
1107
The album referred to above was acquired by the
1108
Dcpartmcnt of western Art in 1991, together with a portrait
1109
of Dora Clarke by Orovida.
23
1111
BRITISH SCULPTURES, BY ARTIST'S NAME
1112
Geoffiey CIARKE RA (b.1924)
1113
@@PROCESS
1114
461. Angle and supported bar
1115
12.I cms. (height); 23.5 cms. (length); 7.5 cms. (width)
1116
Aluminium of a grey grade, the surface treated with silicone wax.
1117
Solid, sand-cast, in one piece by the artist at his workshop at Stowe
1118
Hill, Hartest. Stamped under the supported bar with `G C'-the
1119
first initial embracing the second-which encloses a diminutive `64'.
1120
`6/10' and `410' incised to either side of this mark, indicating the
1121
edition.
1122
From the collection of Christopher Hewett ( 1938-83). Given to
1123
the Museum by his family in June 1985 and included in the
1124
exhibition celebrating the gift which was held in the MCAlpine
1125
Gallery in January and February 1987 (no. 34-with marks
1126
catalogued incorrectly ).
1127
Another sculpture (No. 462) and a monotypc by Clarkc were
1128
also included in the ctft. Clarke had exhibited at Hewett's
1129
Taranman Gallery in 1975, 1976, and 1982. This piece was
1130
shown in the latter year but is dated `64' (i.c. 1964) and is
1131
related to A"g/G ¢"d j#4Po7¢¢d hay, a unique aluminium
1132
sculpture 20 inches high, 16 inches wide, and 36 inches long
1133
which was exhibited at the Redfcrn Gallery, 20 Cork Street,
1134
hondon, in L965 (Geo!ffiey Clarhe: Recent Scttl|itttres, r\o. 7 >
1135
illustrated). In the introduction to the catalogue for that
1136
exhibition J. P. Hodin writes of Clarke's sculptures as signs,
1137
and notes the inspiration of ideograms, Klee's paintings,
1138
Picasso's sculpture, and the `calligraphic' character of oriental
1139
bronzes. The aluminium retains some of the texture of the
1140
polystyrene from which the origival model was cut.
1141
24
1142
BRITISH SCULPTURES, BY ARTIST'S NAME
1143
Geoffrey CIARKE RA (b.1924)
1144
@@PROCESS
1145
462. Books
1146
18.75 cms. (height); 26.95 cms. (length); 6.3 cms. (width)
1147
Cast aluminium of a grey grade, the surface treated with sihicone
1148
wax, pohished on the three raised edges. Stamped on the lower right
1149
of the raised central rectangular relief area with `G C'-the first
1150
initial embracing the second-which encloses a diminutive `81'; the
1151
number 1 below. Two bolts are attached to the rear for hanging.
1152
Provenance-s with No. 461 (No. 35 in the 1987 exhibition).
1153
There may be a relationship with the twenty-two prints (in
1154
different media-copper engraving, dry-point, etching, and
1155
aquatint) made in homage to 7Z/c fb#Gc 4oofu, the etching by
1156
Hercules Seghers, by fifteen artists (including Henry Moore,
1157
Vieira da Silva, Ubac) for I,c I,¢.prg de /¢.p#Gf by Pierre Lecuire,
1158
published in Paris at the close of 1974 and first exhibited
1159
early in 1975 at Christophcr Hewett's Tararman Gauery.
25
1161
BRITISH SCULPTURES, BY ARTIST'S NAME
1162
John CIARKE (died 1990)
1163
@@PROCESS
1164
463. Cain and Abel
1165
@@PROCESS
1166
109.2 cms. (height including integral plinth); 77.3 cms. (length
1167
of integral plinth); 39.5 cms. (width of integral plinth)
1168
Bronze with a dull dark grey to brown patina. Hollow, lost-wax,
1169
cast. `TOHN CIARKE' is chiselled in the chamfered side of the plinth
1170
to the right of the female figurc's right foot.
1171
Provenance unrecorded. The sculpture seems never to have been on
1172
public exhibition.
1173
John Clarke enjoyed little reputation as a sculptor. His name
1174
is in no reference books. The style, in particular the boldly
1175
scooped out and simphfied treatment of the heads influenced
1176
by Gauguin's `primitive' style of wood-carving, suggests a
1177
date in the 1920s or 1930s. It seems unlikely that the Museum
1178
could have bought or even have accepted as a gift such a
1179
26
1180
cumbersome work by a completely unknown artist without
1181
any record being made, but it is possible that it was placed
1182
on deposit and never retrieved. Although the figures are male
1183
and fcmalc the group is entitled `Cain and Abel' in a
1184
photograph album of works by Clarke brought into the
1185
Museum by Roger Warncr on 18 Scptcmber 1990. The
1186
caption to the photograph reads as follows `Malc and Female.
1187
The struggle between the positive and negative in nature. An
1188
allegory. Chebel (Abel) Conception, pains of birth. The Ego
1189
in conflict with matter, Having arrived at man and woman
1190
and not being interested outside its drama in the bloody
1191
murder in the Biblical story, I have preferred to dramatise
1192
the kind of murder we most of us commit when we push on
1193
one side a fine attribute in order to let one less fine flourish.'
1194
A photograph of the artist's home, the Malt House near
1195
Burford, taken in 1953, includes a plaster version of the
1196
group.
1197
BRITISH SCULPTURES, BY ARTIST'S NAME
1198
S. E. COVELL (active 1810-12)
1199
@@PROCESS
1200
464. Profile portrait allegedly of
1201
Baron Dominique Vivant Demon
1202
7.85 cms. (height of bust); 10.2 cms. (height of oval ground
1203
inside frame); 8.4 cms. (width of oval ground inside frame);
1204
17.1 cms. (height of board); 14.6 cms. (width of board)
1205
Wax, flesh-pink in colour, on a black ground, of paper or card, in
1206
the original oval gilt metal frame, mounted on a black wooden
1207
board. Incised in capital letters in the curve of the cut of the bust
1208
at the arm: `s. E. covELL 1810.' There is an old break from the bridge
1209
of the nose to the upper lip.
1210
Given by Sir Gilbert I.althwaite, GCMG, KCB, of 214 Ashlcy
1211
Gardens, I.ondon Swl, in 1964. Rcdstered on 16 July of that year.
1212
A card origivally pasted to the backboard of the franc carried
1213
a transcription in sepia ink by a mid-nineteenth-century
1214
French hand of a brief biography of Denon, 1747-1825,
1215
Director General of French Museuins under Napoleon and
1216
the cmpcror's art adviser. It mentions the 1829 edition of his
1217
Voyage days la haute et basse Egypee, so .rt "st ha:Ne been
1218
written after that date-considerably after the date of this
1219
portrait. Whilst the profile is not incompatible with other
1220
portraits of Dcnon, one may wonder whether it has not been
1221
confused with another portrait of a different date or whcthcr
1222
it was perhaps not made from the lfc, for 1810 was not a
1223
date at which one would expect to find an English artist in
1224
Paris obtaining a sitting from such a busy official.
1225
Furthermore, in the bronze statue of 1826 by Pierre Cartehier
1226
in the Cimctiere Pare Lachaise, Dcnon's head is not very
1227
silular. The term bust by Joseph Charles Marin exhibited at
1228
the Salon in 1827 (Ijouvre, c.c.179) is no closer. Four other
1229
wax portraits by Mrs Covell are listed in E. J. Pyke's
1230
B~i.ogr.Phi.c?lDictionaryOfWanModellers(Oxiold,r973),
1231
32. All of these arc of British sitters and those that are dated
1232
are of 1810 or 1812. A Miss Covell, painter, exhibited a
1233
portrait at the Royal Academy in 1810.
27
1235
BRITISH SCULPTURES, BY ARTIST'S NAME
1236
Associate of James COX (active from 1749; d. late 1791 or
1237
January 1792)
1238
@@PROCESS
1239
465. Clock case supported by scrolls
1240
and fantastic fish and flanked by
1241
female personifications
1242
65 cms. (height); 33 cms. (length); 19.7 cms. (width); 19.2 cms.
1243
(diameter of main dial, including franc); 9.5 cms. (height of
1244
miniature painting); 6. 5 cms. (width of miniature painting)
1245
The movement strikes the hours and chimes the quarters on eight
1246
bells. The main enamel dial has two subsidiary ones above: proper
1247
right for regulation, proper left strike silent. `TA§ CoX / LONDON' is
1248
inscribed between the subsidiary dials. Engraved on the brass
1249
backplate: `Jamcs Cox. / Ik>ndon' in a frame of symmetrical rococo
1250
scrolls and tendrils. The glazed oval opening below the main dial
1251
contains a miniature gouache painting on vellum stretched over a
1252
copper plate. Rose silk was origivally visible through the pierced
1253
work of the sides of the case and behind the entangled ribbons and
1254
olive branches around the miniature. This material only survived in
1255
deteriorated fragments attached to a fabric glued in its place about
1256
thirty years ago: it was replaced in 1988.
1257
The case itself is of bronze, fire-dlt. The gilding is tarnished black
1258
in several places. The main body-onsisting of figures, scrolls,
1259
swags below the dial, and fish-was cast in one piece. Plugs are
1260
visible on the knee of the figure to proper left, also on her upper arm
1261
and her shoulder blade. There are several firing cracks, e.g. on the
1262
shoulder blade just mentioned. The acanthus leaves enriching the
1263
four principal scrolls are separately cast and bolted in place (that on
1264
the back leg, proper left, is now loose). The frame for the dials is
1265
also separately cast, as is that for the miniature which is embellished
1266
with the branches and ribbons-portion of these has been broken
1267
off and is rejoined by screws (the photograph of the detached frame
1268
has been taken without this), and other smaller parts have been
1269
reinforced by small plates screwed behind. The elements on top of
1270
the case-the lion, crown, shield, oval walsted socle and its finial-are
1271
all cast separately. The lion's left rear leg is cracked through and
1272
large plugs are easily discerned in his rump. His front left paw is
1273
attached by wire to the finial of the crown.
1274
Bequeathed by J. F. Mallctt in January 1947. Received in the
1275
Museum late May 1947. No.184 in the inventory of his collection
1276
where described as `A clock in English ormolu case, fomed by two
1277
female figures standing on dolphin feet' and valued at £360. Bought
1278
by Mallett at the sale of sir George Donaldson's collection, Puttick
1279
and Simpson, I.ondon, 6-10 July 1925, lot 328. Previously in the
1280
third part of the Hamilton Palace Sale, 3 July 1882, lot 884, fetching
1281
es61. Presumably acquired by the tenth duke of Hamilton ( 1767-
1282
1852 ) in the early nineteenth or, possibly, late eighteenth century.
1283
When in previous collections, and unth very recently in the
1284
Ashmolcan Museum, it was believed that this clock was made
1285
for Henry Benedict, cardinal of York ( 1725-1807), the `last
1286
of the Stuarts', who, on the death of his elder brother the
1287
Young Pretender, in 1788, styled himself Henry IX, king of
1288
England. This was on account of the Stuart arms on the
1289
shield which, since they have a crescent at the honour point
1290
and a prince's crown, must date from before 1788. When
1291
the case is examined from above (which is normally impossible )
1292
and also in its interior it is clear that the crowning elements
1293
28
1294
have all been added-perhaps to give the clock an added
1295
attraction for the duke of Hamilton who was obsessively
1296
interested in royal finilies. The bolts and fixtures inside this
1297
part of the case are distinctive, improvised, and of more recent
1298
date than the others. Outside, the colour of the Slding, when
1299
sccn in a strong light, is not the same as that of the main
1300
body of the case. Above all, the oval waistcd socle behind the
1301
arins does not fit the top of the main case and fans to conceal
1302
the evidence of a former attachment to the front beside the
1303
raised hand of the figure proper left. Although the lion is as
1304
well modelled and tooled as any other part of the case the
1305
royal crown and the leaf capping on the socle behind it are
1306
thin, stamped, mass-produced ornaments. There is no room
1307
for a unicorn although one would certainly have been placed
1308
here had the clock been designed with the royal arms.
1309
The attribution in the Hamilton Palace sale of the miniature
1310
of dancing Bacchanals to `Degault' was modified by Mallett
1311
into `the manner of Degault' and accepted by the Museum
1312
in this form with Degault erroneously identified as `Picrre
Marie Gault de Saint-Germain 1754-1842' (after Thieme-
1314
Becker) instead of Jacques-Joseph de Gault or Degault
1315
( 1738-after 1812) (for whom, and for the confusion over
names, see C. Jcannerat, `De Gault et Gault de Saint-
1317
Gc;rmirn' , Bulletin de la Soci6t6 de lJhistoire de l'art frantais
1318
( 1935nd), 221-35). But the miniature is not in fact very close
1319
to work by this specialist in `le genre camee'. Degault did
1320
sometimes employ a black ground but his inspiration was
1321
taken from antique gems and cameos, whereas the action of
1322
the dancers recalls the murals discovered in 1749 at Torre
1323
dcll' Annuziata, Pompeii-specially the composition of the
1324
`duc Ballatrici'-murals which were much copied and
1325
imitated in gouache by artists in Naples and Rome such as
1326
Michelangelo Maestri. The modelling of the grey and cream
1327
stipple is as subtle as the tiny touches of pinky terracotta
1328
colour are telling in the wreath of flowers and the rattles of
1329
the castanet. Under magnification traces of gold are evident,
1330
especially in the fircone of the thyrsus. Grisaille painting of this
1331
sort of subject was not unfiniliar in England in the late
1332
eighteenth century (it is found on furniture, for example, the
1333
seasons painted in oval reserves in the corner commodes at
1334
the Lady Lever Art Gallery, Port Sunlight (H 279) ), but no
1335
English artist worked in exactly this medium and mode with
1336
such extraordinary finesse.
1337
It is natural to suppose, as Mallctt did, that since the
1338
movement is English, or at least signed by James Cox of
1339
I.ondon, the ormolu would also be English. Such a point of
1340
view would bc reinforced by the fact that it is certainly not
1341
French. In French ormolu of the second half of the eighteenth
1342
century it would be most surprising to find such cracks and
1343
flaws-lso such rough and vigorous modelling and such
1344
exciting freedom in the tooling of the metal. In France such
1345
a work would also be cast in more pieces. Most obviously,
1346
the fish feet would be cast from the same moulds or pair of
1347
moulds (cf. No. 341 ), whereas here each is different and some
1348
are so distorted as to have only one eye.
1349
BRITISH SCULPTURES, BY ARTIST'S NAME
1350
The branches and ribbons, the quatrefoil pattern of the
1351
pierced side panels, the neat swag below the main dial, and
1352
the leaf mouldings framing the dials are all possible in French
1353
design of the period in which Cox worked, but not the fish,
1354
the double clam sheus behind their linked tails, the bold
1355
scrolls, and the general balloon shape. The fish, shells, and
1356
scrolls derive directly from Bernini and the designer of this
1357
must surely have bccn an Itahan or an artist whose taste was
1358
formed in Italy where the work of Bernini and his school
1359
continued to be esteemed and imitated until the close of the
1360
eighteenth century.
1361
This blend of the baroque and nco-classicism is
1362
characteristic of Sir William Chambers ( an observation I owe
1363
to Charles Truman), especially if one considers his State
1364
Coach. However, the clocks actually made to his designs by
1365
Matthew Boulton's craftsmen are neat architectural pieces not
1366
vigorous sculptural ones. The figures are similar to those that
1367
one finds in the sculpture of Joseph Wilton (who sometimes
1368
collaborated with Chambers) and of Joseph Nollckens (who
1369
is known to have made a bust of Catherine the Great for
1370
James Cox). Against the idea that the case was made in
1371
Entland is the miniature (although this could have been
1372
imported), the absence of comparable English ormolu, and
1373
the existence of a porcelain clock in the Victoria and Albert
1374
Museum (3645 and 3645a-1856) obviously modelled on this
1375
one which is supposed by experts to be from an Italian factory
1376
(or, as John Mauett has proposed, from the Buen Retiro
1377
factory, Madrid, which had many links with Italy).
1378
James Cox, whose name appears on the clock, was
1379
established at the Golden Urn, Racquet Court, Fleet St,
1380
I.ondon, by 1749. By 1751 his rococo trade card was
1381
announcing in three languages that James Cox, `Goldsmith
1382
. . . makes great variety of curious work in gold, silver and
1383
other metals; also in amber, pearl, tortoiseshell and curious
1384
stones', and was also a dealer-`N.B. Buys gold, silver, curious
1385
stones, amber, jewels and curiosities'. He moved to Shoe
1386
Lane and formed a partnership with an Edward Grace 1756-
1387
9, but little otherwise is known of him before 1769 when he
1388
acquired the Chelsca porcelain factory fi.om Nicolas Sprimont.
1389
This hc sold, after a very short period, in 1770. In 1772 he
1390
opened a museum of his jewelled automata-flute-playing
1391
Chinamen and gemstone flies and flowers, and so on-at
1392
Spring Gardens, for which a descriptive catalogue was
1393
published, and in May of the following year a Bill was passed
1394
in Parliament enabling him to sell his `magnificent pieces of
1395
mechanism and jcwellery' by lottery. The catalogue for this
1396
also survives in the preface for which hc supplies a defence of
1397
luxury, claiming that his exports `havc brought more than
1398
half a million sterling to the port of I.ondon within the last
1399
seven years' and pointing out the `grcat number of artists
1400
and workmen he cmployed'. He was declared bankrupt in
1401
November 1778. Claire I.e Corbelher (in `James Cox: A
1402
Biographical Review', B#7i/z.7g;gro7£ A4l¢g¢zG.»c (June 1970 ),
1403
35lnd), from whom the above facts arc derived, points out
1404
the common stylistic denominators in the extant pieces which
1405
Cox is known to have supplied-hicfly miniature boxes and
1406
commodes with symmetrical rococo ornament in gold
1407
involving clockwork and jewels and hardstones-and they
1408
certainly have nothing in common with the clock in the
1409
Ashmolean. On the other hand Cox must have handled many
1410
items which were not in this `housc style' and the clock is on
1411
a different scale. There is evidence of Cox's interest in ormolu
1412
in larger works, a marble chimney-piece `inlald with ormolu'
1413
is described by William Hickcy, and Cox's acquisition of the
1414
Chelsea porcelain factory may have been associated with
1415
schemes for providing omolu mounts for porcelain (ibid.
1416
@@PROCESS
1417
351-2).
1418
The ormolu clock, if made in England, would be likely to
1419
have been designed for export to a foreign court-Cox, as
1420
we have seen, emphasized his export business and he seems
1421
to have made his most remarkable automata as diplomatic
1422
Sfts for the merchant companies to present to exotic
1423
potentates, the Chinese emperor in particular. If taken or
1424
sent to Naples that would explain the miniature and it would
1425
also have been accessible there to designers of the Buen
1426
Retiro porcelain factory who might have been responsible for
1427
the clock now in the Victoria and Albert Museum.
1428
This porcelain version of the clock has, no subsidiary dials
1429
and no miniature. These differences however were no doubt
1430
conditioned by factors beyond the control of the designer
1431
who, in other rcspccts, tried to follow the ormolu example
1432
closely. There is good reason therefore to suppose that the
1433
stand for the porcelain clock with concave sides provides an
1434
accurate idea of one which was origivally a part of the ormolu
1435
clock, and also that the seated figure of Time on the top is
1436
copied from such a figure origivally crowning the ormolu
1437
clock. (The positions of Time's ovcrhangivg feet correspond
1438
with places on the top of the clock to which attachments were
1439
origivally made. ) As it stands at present the attitudes of the
1440
figures in the ormolu version make no sense, but in the
1441
porcelain version it is possible to see that they must have been
1442
holding, or at least indicating, attributes, or an attribute, just
1443
passed to, or taken from, Time. What was intended would
1444
be casicr to guess if we knew what the figures pcrsonificd. In
1445
the ormolu version there is a portion of a rudder with a bird's
1446
head terminal ornament peeping out beside the breast of the
1447
figure proper left ( something omitted in the porcelain
1448
version). This is an attribute commonly given to Fortune and
1449
sometimes to Abundance. And yet the seated figure of Time
1450
on the porcelain clock poses an additional problem. It is
1451
closely dcrivcd from a model, probably origivally designed as
1452
part of a group involving the Fates, piece-moulds of which
1453
survive in the Museum of the Ginori porcelain factory at
1454
Doccia. Documents show that Vincenzo Fogdni was paid to
1455
make waxes of this figure in 1725 and it was incorporated in
1456
the great allegorical ensemble alorifying the Medici made of
1457
Doccia porcelain in 1757 (K. Lankhcit, D;G 44lode//f¢7"7"/#"g
1458
her Porz,ellanmanuf aktttr Doccia (M:un!+ch, L982), +60,
1459
pl. 223, no. 87; also colour plate I). It had first been used as
1460
a gilt bronze figure crowning a clock of ebony and P¢.c£7ic d#rG
1461
now in the Bulgari Couection in Rome for which there are
1462
drawings by Giovanni-Battista Fogdni in the Uffizi dated to
1463
±7+3-18. (A. Gonz6lez-Pa+a[ctos,11 tempio delgttsto (In
1464
Toscana e l'Italia settantrionale), 2 vo\s. (M:flan, 1986), i. 44
1465
and ii, fig. 89.)
29
1467
BRITISH SCULPTURES, BY ARTIST'S NAME BRITISH SCULPTURES, BY ARTIST'S NAME
1468
Perhaps Buen Rctiro factory, Porcelain Clock.
1469
Victoria and Albert Museum, I.ondon
31
1471
BRITISH SCULI'TURES, BY ARTIST'S NAME
1472
`G.C.D.' (dates unknown)
1473
@@PROCESS
1474
466. Profile medallion bust portrait
1475
of Sammy Woods
1476
32 cms. (height); 28.5 cms, (width)
1477
Bronze with a dark brown dull patina. Sand cast. The reverse is
1478
hollow. The initials `G.C.D.' are chiselled to proper left beside the
1479
neck. There are four attachment points for bolts in the reverse which
1480
is painted with coarse capital letters in black `sAMMy / wooDs'.
1481
The bronze has been kept in the Hebcrdcn Coin Room as part of
1482
the vast collection, mostly of British medals, purchased from Colonel
1483
Michael H. Grant in 1953. The crude lettering is Grant's, but I
1484
have not traced this item in his manuscript catalogue.
1485
It is assumed that `G.C.D.' are the initials of the artist and
1486
that Sammy Woods is the name of the sitter. It has not been
1487
possible to identify a sculptor with these initials working in
1488
the 1920s or 1930s. He or she may well have been an
1489
amateur: the sculpture is certainly of poor quality and very
1490
poorly cast.
1491
The Hon. Anne Seymour DAMER ( 1748-1828)
1492
@@PROCESS
1493
467. Bust portrait of prince Henry
1494
Lubomirski in the character of
1495
Bacchus
1496
54 cms. (height, including integral socle and plinth); 25 cms.
1497
(length of plinth); 23 cms. (width of plinth)
1498
Carrara marble. Intcgra.I base and plinth. Small chips; the corner of
1499
the plinth repaired with plaster. The following letters, on the side
1500
of the base to proper left, are chiselled with a distinctive drill-hole
1501
at the termination of each stroke: AIVIVA 2JEJA40PJZ /
1502
4£4A4EP / EJ70JE/ [Anne Seymour Damer fecit].
1503
Transferred `on revocabledcposit' from the Bodleian hibrary in
1504
1897 (authorized by Convocation 16 February 1897; received by
1505
Museum 25 February). The bust was in the Bodleian Gallery
1506
according to James Dallaway in a footnote to his `Advertisement'
1507
[Preface] to the 1826 edition of Horace Walpolc's A„ccdofGf a/
1508
P#¢.»f¢.„g ¢." E»g/¢„¢. Exhibited at the Royal Academy in 1788 as
1509
no. 607 (`Head of a boy in the character of Bacchus; marble'). An
1510
engraving in stipple by John Jones after a drawing by James Roberts
1511
was published by the same engraver and draftsman togcthcr on 26
1512
June 1790, the former with an Oxford address (Hogarth's Passage),
1513
apparently previous to its acquisition by the University. In the 1960s
1514
the bust was displayed in the Chambers Hall Room near the
1515
Nollekcns of Mrs Howard (No. 557). I.ong in reserve, it was placed
1516
in the Director's office in 1985.
1517
The Greek lettering on the marble is less pretentious than
1518
might be supposed, since Horace Walpolc noted of his
1519
protege that she `writes Ijatin like Pliny and is learning Greek
1520
. . .'. In addition, having been taught marble carving by John
1521
Bacon, she was introduced by another admirer, the
1522
connoisseur, collector, and Greek scholar Richard Paync
1523
Knight, to the principle that the ancient Greeks had always
1524
been responsible for the final execution of their work, in
1525
marble and bronze, as well as for the preliminary modelling,
1526
valuing the tooling which gave vitalty to the surface of the
1527
sculpture. Thus the Greek lettering may have a somewhat self-rightcous.,
1528
even polemical, point. The marble is everywhere
1529
enlivened by traces of the rasp.
1530
Prince Henry ( 1777-1850), son of Duke )osef Lubomirski
1531
and Ludwika Sosnowskich of Poland, was adopted at the age
1532
of 6 by his wealthy, art-loving, and childless aunt, the Duchess
1533
Isabella Czartoryskich Lubomirska. Infatuated with his
1534
beauty, she paraded him in high society in several European
1535
cities and had him immortalLcd by many of the leading artists
1536
of the day. The prince was painted by Fricdrich-Hcinrich
1537
Ftigcr, Angelica Kauffmann, Grcuzc (three times-see the
1538
entry for lot 167 in the catalogue of Sotheby's New York sale
1539
4 June 1987), and Elizabeth Vigee-Lebrun (as Eros, in a
1540
painting now in the Staatliche Museen, Benin-Dahlcm), and
1541
was portrayed by Canova (also as Eros in a statue at Anglcsey
1542
Abbey near Cambridge and in another version at Lancut).
1543
Prince Henry and his aunt were in Ijondon between May
1544
and July 1787 and this would seem to have been the most
1545
likely date for the sittings for the bust portrait, although Mrs
1546
Damer could have travelled to Paris later in the year. (See M.
1547
Paskicwicz in %#2;G#% Po/j:leg.G ( 1977), 2/1 (VI), 23-31.) If,
1548
as was likely, Damer's marble bust formed part of Isabeua's
1549
collections it would have been removed by her to Lancut in
1550
1791. The prince bccanc first curator of the Ossolineum
1551
Institute in Lvov, a libray which also printed scholarly
1552
editions of the classics. This may wcu have involved him in an
1553
association with the Bodleian Library.
1554
MrsDanerwaspartialtoportraitureofthistype.HcrBoy
1555
¢f "G~c#ey was cxhibitcd at the Royal Academy in 1787
1556
(no. 625); she showed a C»G.% ¢f P¢z¢.I in 1788 along with
1557
this bust (no. 599); in the following year her 777¢/¢.a (no.
1558
@@PROCESS
1559
585, National Portrait Ganery 4469) was in fact a portrait of
1560
the actress Etiza Farren; and her bust of Mrs Freeman as Isis
1561
ofc.1790(VictoriaandAlbertMuseun,A.31-1931)includes
1562
a sistnim on the soclc placed at an ande like the rty7J%J on
1563
Prince Hcnry's. Her work is not much varied and the blank
1564
expression, limited portion of the chest, frontal presentation,
1565
andinchiationoftheheadfoundinthisworkaretypicalof
1566
most of her portrait sculpture (the marble self-portrait
1567
presented to RIchard Paync REight and bequeathed to the
1568
British Museum togcthcr with his antique sculpture is
1569
cspeciallyclose).Somcofthcscformalcharacteristicsmayhave
1570
bcendcterminedbythcdisplayofthcbustsonhighchimneyL
1571
pieces. The observation of her fiend and admirer Thomas
1572
Hn=F_i.i.th=P.refac.eto_±s_Houscho|dFuini-;u=e--a;;V|`tLt-e%or
1573
DGcoz¢£¢.o»((London,1807),47)isalsorelevant:`theGrecian
1574
method of cutting the chest square, and placing its whole
1575
mass immediately on a tcm or other solid support-, seems
1576
muchpreferabletothemorcprcvalingoneoffinishingor
1577
roundingoffthatchest,andbalancingitscenteronlyona
1578
slender and tottering pivot'.
1579
BRITISH SCULPTURES, BY ARTIST'S NAME
1580
BRITISH SCULPTURES, BY ARTIST'S NAME
1581
James S. DEVILLE ( 1776-1846)
1582
@@PROCESS
1583
468. Bust portrait of John Shute
1584
Duncan
1585
69 cms. (height)
1586
Plaster of Paris, painted yellow (not shellac and not absorbed by the
1587
plaster). Hollow cast in two parts: the socle is separately cast and
1588
attached. `|. DEVILLE F'r PUBD March 18 1825' is incised in the model
1589
across the back of the bust above the hollow. `TOHN SHUTE DUNCAN.
1590
M.A. / KEEPER oF ASHMOLE'S MUSEUM / died 1844' is painted in
1591
black in the hollow of the soclc. A portion of the back of the socle
1592
to proper right has been broken off and lost.
1593
Presumably presented to the Ashmolean Museum in the mid-nineteenth
1594
century. Possibly once in the Radcliffe Camera.
1595
John Shute Duncan ( 1769-1844) was unanimously elected
1596
Keeper of the Ashmolcan on 17 November 1823. He
1597
undertook a thorough reorganization of the Museum,
1598
initiating building work, extensive redccoration, relabelling,
1599
cleaning, and conservation: the Eskimo dresses wcrc washed
1600
and the crocodiles varnishcd. Many new benefactions were
1601
elicited by him and hc himself gave numerous zooloScal
1602
specimens to the Museum. When he married in 1829 he
1603
resigned the Keepership. He was awarded an Hon. DCL in
1604
the following year. By then his brother Phihp Bury Duncan
1605
had been elected as his successor (R. F. Ovencll, T%e
1606
j4j¢owo/e¢" M#JG#ow J683-1894 (Oxford, 1986), 189-98).
1607
Deviue was a plaster figure maker of Newport Strcct, Soho.
1608
He had acted as an assistant to Nollekens and purchased that
1609
artist's moulds. He also practised as an origival sculptor. The
1610
GG"#/Gow¢~'J M¢g¢2;¢.„e, noting his death ( 1846, 2: 104)
1611
described him as a `lamp manufacturcr' and a `phrcnoloSst'
1612
as well-the lamps were doubtless cast plaster figures holding
1613
lampsandthephrenologywasperhapsconnectedwithmaking
1614
casts of heads. It may be that Duncan came into contact with
1615
Devi]1e because of some casts (including the APo/Zo BG/pcde7iG
1616
and the D;Jcofo/#f) which he and his brother presented to
1617
the Bddcliffe Camera (Ovencll, op. cit. 189). According to R
1618
Gunnis, Dictionary Of ` British Sculptors (.London, +968), \30..
1619
a bust of Duncan by Deville was in the Radcliffe Camera, and
1620
a it may be that this bust was origivally there.
1621
34
1622
BRITISH SCULPTURES, BY ARTIST'S NAME
1623
Sir William Reid DICK Kcvo, RA ( 1879-1961 )
1624
@@PROCESS
1625
469. Crouching female nude
1626
23.2 cms. (height); 13.3 cms. (length of base)
1627
Chalk. Incised on the rock base `W. Reid Dick/ 1916 / Cabaret
1628
Rouge / Souchez' with a scparatc label `Carved out of Chalk / in
1629
the Trenches of/ the Vimy RIdge / 1916 / By W. Reid Dick'.
1630
Bequeathed by Major Thomas Bouch, Master of the Bclvoir Hunt.
1631
Bouch, who had been an undergraduate at Magdalen 1901-3, died
1632
on I May 1963. In his will, communicated by his solicitors on 13
1633
May, he wrote of his desire to bequeath to Oxford University his
1634
I.abrador quartz specimen table and `also my nude female figure
1635
carved by Reid Dick out of the chalk of the trenches of the Vimy
1636
RIdge in World War 1914-18 when he himself was in the second
1637
reserve line of trenches. He told me he persuaded a boy in the
1638
Kensington Regiment to pose for him.' Bouch also wanted Oxford
1639
to have `all my pictures or such of them as the Directors of the
1640
Museum may select'. Some of the paintings were accepted and
1641
others were sold to establish an acquisitions fund. On the
1642
Department's copy of the probate inventory of Ashome, Warwicks.,
1643
Major Bouch's home, the chalk figure is mentioned by Robertson
1644
as something the deceased had particularly wished to be preserved.
1645
Oddly, and no doubt in error, it is not listed on the receipt of 20
1646
November 1963.
1647
The story of the boy model mentioned by Bouch in his will
1648
is peculiar. He must have had the most astonishing hips and
1649
buttocks. Another model may have been found in the
1650
mysterious `Cabaret Rouge'. The inspiration is obviously the
1651
fcmalcs in similar postures in the work of Rodin.
35
1653
BRITISH SCULPTURES, BY ARTIST'S NAME
1654
Probably foundry of Alessandro Parlanti, Parson's Green,
1655
Fulham
1656
After Sir Wihiam Reid DICK Kcvo, RA ( 1879-1961)
1657
@@PROCESS
1658
470. The Catapult
1659
31.25 cms. (height of bronze); 2. I cms. (height of plinth);
1660
11.10 cms. (length of plinth); 7. I cms. (width of plinth)
1661
Bronze with a dark green-brown patina tending to a warmer brown
1662
at the naturalistic base. Hollow, lost-wax, cast. Incised `W. Reid
1663
Dick' in the model on a projection at the back of the naturalistic
1664
base to proper left of the boy's left foot. Bolted to a plinth of Siena
1665
yellow marble with mauve and white veins.
1666
Bequeathed by the Revd J. W. R. Brocklcbank in November 1926.
1667
No.16 on Andrew Shirley's receipt of January 1927 as `Nude boy
1668
drawing a catapult'.
1669
The figure was exhibited by Reid Dick at the Royal Academy
1670
in 1911 as a bronze statuette about 2 ft tall. This cast is now
1671
in Bradford City Art Gallery and Museum, Cartwright Hall,
1672
and other casts this size exist (one was in a private collection
1673
in Oxford). Half-size casts such as this example are abundant
1674
and arc often mounted on similar Siena yellow marble plinths,
1675
with slightly rounded corners, as in this case. Praised by H.
1676
Granville Fell in his little book on the artist as `a well-balanced,
1677
tense figure, precise in modelling and displaying assured
1678
scholarship throughout' (RG¢.¢ D;cfe (Ijondon,1945), pl. 2),
1679
it recalls elements of both the two most famous of Leighton's
1680
sculptures (Nos. 532-3).
1681
The founder of most casts of the C¢£¢P#/£ was John
1682
(Giovanni) Gahzia. He came to England from Sicily in 1912
1683
and worked for Parlanti where he became foreman. Like his
1684
Italian contemporaries Mancini and Giovanni Fiorini, who
1685
were also employed by Parlanti, he then started his own
1686
business. After a partnership with Fiorini in the Peterborough
1687
Road, Chelsea, during the 1920s, Galizia opened a foundry
1688
at 36 York Road, Battersea, in October 1930. By the time of
1689
his death in 1958 the foundry had moved to Chatfield Road,
1690
Battersea, where his son was still managivg it in 1988.
1691
Galizia's contract book (which his son kindly showed me)
1692
records an order for 3 C¢£#P%/£J on 2 June 1933 at 20
1693
guineas, another for 3 on 20 December at £21 10s., another
1694
for 2 on 6 October 1945 at £15 each, then one for I `large
1695
catapult' at fl5 on 14 December 1945, one for 2 small
1696
£#P„/£f at fl5 each on 9 July 1946, one for two large and
1697
two small C¢}ap#f (at £30 and £20 each) on 18 June 1947,
1698
and lastly one for two small C¢£ap„/£r at £20 each on 30
1699
June 1948. All these orders seem to have been placed by the
1700
sculptor. In addition one cast of the larger version was
1701
commissioned for £40 by Ijady Dick on 21 March 1965. The
1702
contract book reveals that Dick gave Galizia much
1703
employment, preferring to use his foundry for all his smaller
1704
work in bronze. Yet the Ashmolean's cast cannot have been
1705
cast by Galizia's foundry, since it dates from before 1927. It
1706
is likely that Dick employed Galizia because he had formerly
1707
employed Parlanti and was aware of his work at that foundry.
1708
36
1709
BRITISH SCULPTURES, BY ARTIST'S NAME
1710
Fran€ois DIEUSSART ( c.1600ndl )
1711
@@PROCESS
1712
471. Bust portrait of prince Rupert
1713
71.8 cms. (height of bust); 18.4 cms. (height of socle); 26 cms.
1714
(length of socle); 21.6 cms. (width of socle)
1715
Carrara marble, severely weathered, battered, and soiled. The nose
1716
is restored in plaster. There are many minor losses: e.g. portions of
1717
the lace collar on proper left side, a curl above the centre of the
1718
forehead, a curl at the proper left shoulder. Much detal is almost
1719
worn away: e.g. ornamental fringe of cloak to proper left, little bow
1720
at centre of the lace collar. The proper left side of the bust has been
1721
detached and refixed and may always have been pieced. Mounted
1722
on its original socle of rectangular plan modified with a segmental
1723
projection in front; the sides hollowed to balance the projection.
1724
`ROBERrvus / DEI G . cOMEs / PAL . RHEN . / Dux BAVAR . / AETA . i7
1725
AN.1637' is chiselled on the curved front face of the socle.
1726
Given to the University by the dowager countess of Pomfret in
1727
1755. Acquired by her father-in-law, Sir William Fermor (later I.ord
1728
Leicester) from the sixth duke of Norfolk in 1691 together with the
1729
Arundel marbles collected by Thomas Howard, second earl of
1730
Arundel. This bust must have been commissioned by, or presented
1731
to, the second earl. It was exhibited in the Old Schools together
1732
with the other Arundel marbles and is visible on a shelf together
1733
with the bust of Henry VIII (No. 599) at one end of the gallery in
1734
the drawing by William Westall dated 1813.
1735
Prince Rupcrt and his brother Charles-I.ouis were in England
1736
1635-7 to try to persuade their uncle, King Charles I, to
1737
support their claims to the Palatinate. The earl of Anindel's
1738
embassy in 1636 to the Holy Roman Emperor on the king's
1739
behalf and in this cause may be connected with the existence
1740
of this bust and its pair (also dated 1637, with identical soclc
1741
but in superior condition) at Arundel Castle, Sussex. An earlier
1742
bust of the king himself, dated 1636, is also at Arundel Castle.
1743
This suggests that Arundel was a patron of Dieussart from
1744
the commencement of the sculptor's residence in this
1745
country, for he is first recorded as working here in that year,
1746
making a `Paradise of Glory' for the Queen's Chapel. Anlndel
1747
may indeed have encouraged hin to come to England from
1748
Rome where he had been employed by the Barberini-see
1749
D. Howarth, Lord Arttndel and his Circle (INow Haven,
1750
Conn., and I.ondon, 1985), 161 ff.
37
1752
BRITISH SCULPTURES, BY ARTIST'S NAME
1753
Fran¢ois DIEUSSART ( c.1600ndl )
1754
@@PROCESS
1755
472. Bust portrait of Thomas
1756
Howard, earl of Anmdel
1757
90.2 cms. (height of bust); 24.8 cms. (height of socle)
1758
Carrara marble, severely weathered, battered, and soiled. Ths bust
1759
was dragged carlicr in this century from a burning house and lay
1760
for a while neglected and dirty in an outhouse where, however, Sir
1761
Oliver Millar detected it and recommcndcd its rc-erection. The
1762
nose was then repaired, but the missing right shoulder was not
1763
rcplaccd. The clean break here and the character of the hollowed
1764
back of the bust suggests that Dieussart must have used a scparatc
1765
block of marble for this area (as may also have been the case with
1766
No. 471). The bust was cleaned in part and extensively restored on
1767
acquisition by Kathleen Kimber of the Department of Antiquities
1768
working under the direction of Mark Norman. Mrs Kimber built up
1769
the proper left shoulder, the proper right eyebrow, the front of the
1770
collar, and the lower portions of the cloak folds across the chest and
1771
also devised a talbot to match the lion supporter in the socle and
1772
completed the broken head of the horse projeedng at the front of
1773
the socle through the c¢rfz//;"a to match those to either side.
1774
Mounted on the massive white baluster-shaped pedestal origivally
1775
38
1776
devised for the bust of Cromwell (see No. 558). For a photograph
1777
of the bust as it was previous to Mrs Kimber's work see the exhibition
1778
Thomas Howard Earl Of Arundel cked below. p. \3.
1779
Bought from Mr and Mrs Neville Howard of Greystokc Castle in
1780
January 1987 for £50,000 with contributions: £25,000 from the
1781
Regivnal Fund administered by the Victoria and Albert Museum,
1782
£12,500 from the National Art-Collections Fund, £10,000 from
1783
the Central Purchasing Fund, and ca,500 from the Blakiston Fund.
1784
The National Art-Collections Fund made its contribution in
1785
memory of sir Ellis Waterhouse. The bust had never left the Museum
1786
since being loaned to the exhibition 777oow¢f Hoty¢7i¢ E¢#/ a/
1787
47i¢¢"de/ in 1985. It was crectcd, after restoration, in the central
1788
niche at the head of the staircase in December 1987, replacing the
1789
statue of Judith (No. 473). It had always been in the Howard finily
1790
and was presumably made for the sitter; it was probably taken to
1791
Greystoke in the eighteenth century.
1792
For Dicussart's career in England see Nos. 471 and 473. The
1793
portrait, one of the most ambitious bust sculptures executed
1794
in Britain in the seventeenth century, may well have been
1795
intended for Anmdel House and have prcsidcd over the great
1796
collections assembled by the earl there, including the ancient
1797
marbles, many of which are now in the Ashmolean Museum.
1798
BRITISH SCULPTURES, BY ARTIST'S NAME
1799
BRITISH SCULPTURES, BY ARTIST'S NAME
1800
Perhaps by Fran€ois DIEUSSART ( c.1600ndl )
1801
@@PROCESS
1802
473. Judith with the head of
1803
Holofemes
1804
@@PROCESS
1805
136.5 cms. (height including the portion of the integral marble
1806
base proud of the `capital' of the pedestal); 38.5 cms. (width of
1807
marble base)
1808
Canara marble, severely weathered and battered. Cleaned July 1988
1809
by Kathlecn Kimber, using the steam method. The plaster
1810
restorations were renewed at the same date. The chief of these is
1811
part of the loop of fringed drapery to the figurc's left where it
1812
touches the figurc's skirt. The small toe of Judith's left foot is broken
1813
off, the toe next to it chipped. Her right arm is broken at the sleeve.
1814
It would have made contact with the skirt again, presumably at the
1815
wrist, and would have probably held a sword. A loss on the skirt
1816
indicates this point of contact. A loop of drapery above her left
1817
brca§t would presumably have been fastened to the jewel to match
1818
that above her right breast. Mounted on a pedestal with a .Gfrfz
1819
fG#G#¢ `capital' and plinth; the integral base of the marble figure has
1820
been sunk and cemented into the `capital'.
1821
`Found in the basement' in 1934 (by K. T. Packer). Given to the
1822
University by the dowager countess of Pomfret in 1755. Recorded
1823
by George Vertue as among the `Anindel Marbles'. Presumably
1824
made for, or acquired by, the earl of Arundel in the seventeenth
1825
century. Placed by Parker on the present pedestal, which was adapted
1826
for the statue by Helen Munro and Robert Goodcn, and in the
1827
principal iiiche at the head of the main staircase (replacing the bust
1828
of woodbum-see No. 448). Moved in November 1987 to the
1829
Randolph Gallery. Given an accession number by the Department
1830
of Antiquities in 1988 (G. 1277, and G. 1278 for the `altar'-i.e.
1831
the pedestal. )
1832
As Parker was the first to notice, there is a related bronze
1833
statuette,18.5 cms. high, in Berlin (now Staatliche Museen,
1834
Benin-Dahlem, no.1816). Jacob Hess, publishing this in
1835
r967 (Kunstgeschichtliche Studien in Renaissance and
1836
B¢7ioc4, ii (Rome, 1967), 161, pls. 13-14), pointed to
1837
similarities with Nicolas Cordier's P7'r¢¢de#cG in the
1838
Aldobrandini Chapel and Berthclot's angels in the Borghese
1839
Chapel in Rome. Sylvia Pressouyre questioned this and
1840
suggcstcd that the Berlin bronze looks like a 4oz2;G#o for the
1841
Ashmolcan J#d¢.£4 rather than a replica of it. ( Bo2;2##¢.,
1842
however, were not commonly made in bronze.) She
1843
recommends that the sculptor of the statue and of the
1844
4o2;2;c#o-she assumed that they arc the same-bc scarchcd
1845
for `among the Ijombard and Venetian sculptors of whom
1846
there wcrc so many active in Rome in the early sevcntecnth
1847
c;enrur!/' (Nicolas Cordier: Recherches sur la sculpture d Rome
1848
¢#£o#r de j600, 2 vols. (Rome, 1984), ii, fig. 252, no. 65,
1849
pp.444-5).
1850
More recently, Charles Avcry has suggested that the
1851
Ashmolean's marble is the work of Francois Dieussart (see
1852
the catalogue for the sale of T77G Ar##de/ 44l¢„b/cf ¢„d O£¢Gr
1853
Sculpture f tom Favley Cottrt and Hall Barn, Chisirc. s,
1854
I.ondon, 10 December 1985, p.16, discussing fragmentary
1855
torsos from the Arundcl Collection which are neither Roman
1856
nor Greek antiquities). The attribution is attractive not least
1857
40
1858
because the sculpture could thus have been made in England
1859
which is inherently more likely than that it was imported.
1860
Avery recommends comparison with the Mother and Child
1861
group on the monument to Charles Morgan, Governor of
1862
Bergen op Zoom, in the latter city, but this comparison is
1863
not easy to make (scc, however, C. Avery, `Fran€ois Dicussart:
1864
Portrait Sculptor to the Courts of Northern Europe', S£"¢¢.er
1865
¢.„ E#ropG¢7¢ Sc„/Pf#rc (London,1981 ), 219-20). Dieussart's
1866
bust of Johanna Doff of c.1645-50 in the Rijksmuscum (I.
1867
Leouwchoc;I8, Beeldhouwkunst in bet Rijksmusettm
1868
(Amsterdam, 1973), no. 257b) certainly provides analoSes
1869
for the drilling of the hair and for the character of the fringe,
1870
whilst the treatment of the jewel may be matched with that
1871
in Dicussart's bust of Queen Henrictta Maria (Avery, op. cit
1872
pl. 5). But this is not conclusive. The bronze statuette may
1873
well have been an independent invention which inspired
1874
Dieussart for it is a more sophisticated figure than the stiff
1875
and uneasy statue. It is very freely modelled and the cast
1876
appears to be untooled. Records in Berlin indicate that it was
1877
bought in I.ondon in 1890.
1878
The pedestal upon which the marble figure has bccn
1879
mounted is probably Italian work of the early sixteenth
1880
century and will be catalogued in another volume. The base
1881
of the marble seems likely to have been cut down since its
1882
form-ircular in front but following the line of the drapery
1883
behind-is most peculiar.
1884
BRITISH SCULPTURES, BY ARTIST'S
NAMEdiLf.
1:H¥['#¥±
1887
se=*
1888
RE,i,:i.,1,;,",i..";;,:,,,`+,I,
1889
Judith with the head of Holofcrncs.
1890
Staatliche Musccn, Berlin-Dahlcm
41
1892
BRITISH SCULPTURES, BY ARTIST'S NAME
1893
An Bronze Foundry, I.ondon
1894
After John DOUBLEDAY (b.1947)
1895
@@PROCESS
1896
474. Sir Maurice Bowra
1897
44.2 cms. (height of bronze); 5.2 cms. (height of mahogany
1898
plinth); 22.7 cms. (length of same); 22 cms. (width of sane)
1899
Bronze with a pale green and golden brown patina. Hollow, lost-wax
1900
cast (the chair, however, is solid). Incised `Doubleday' in the
1901
model on the chair rail to proper right. The bronze is bolted to an
1902
unmoulded mahogany plinth.
1903
Presented by Sir William Yatcs in 1975. Registered on 22 July.
1904
The bronze is a maquette for the sculpture of Sir Maurice
1905
Bowra ( 1898-1971 ), the Master of wadham, now in the
1906
garden of wadham-Bowra's wit was proverbial among
1907
Oxford dons. Mr Doubleday informs me that his sculpture
1908
was intended to show how Bowra and the `fabric' had become
1909
one-`the fabric in this case being represented by his study
1910
chair'. Some people regarded this as `an infantile pun', but
1911
`Bowra was a bit of wadham or the other way round, so
1912
that's how I represented him'. Doubleday believes that the
1913
maquette was unique, but an earlier version of the idea exists
1914
in an edition of two of which he retains one.
1915
Among other public sculptures by Doubleday are portraits
1916
of Dr Michael Ramsay, Archbishop of Canterbury, at
1917
Lambeth Palace ( 1974), the statue of Charlie Chaplin in
1918
Leicester Square, I.ondon ( 1981 ), the statue of the Beatles
1919
in Liverpool ( 1984), the statue of sir Laurence Ohivier in the
1920
National Institute of Film and Drama in Beijing in the
1921
People's Republic of China ( 1987) .
1922
42
1923
BRITISH SCULPTURES, BY ARTIST'S NAME
1924
Unknown foundy
1925
After Conrad DRESSLER ( 1856-1940)
1926
@@PROCESS
1927
475. Portrait bust in relief of John
1928
Ruskin
1929
15.9 cms. (height); 20 cms. (diameter of board)
1930
Bronze with a dark brown patina worn to yellow on the nose. Heavy
1931
sand-cast, open behind. Mounted on a circular board of pine.
1932
Incised `Con . . ' to proper left inside the jacket lapel. The board
1933
coarsely inscribed in black paint on verso: `J° Ruskin / By / C.
1934
Dressler'.
1935
The coarse inscription indicates that this item although stored in the
1936
Deparment of western Art must belong to the collection of medals
1937
purchased from Colonel Michael H. Grant in 1953 for the Heberden
1938
Coin Room.
1939
Dressler stayed with Ruskin at Coniston in 1886. Ruskin did
1940
much to encourage him and in particular to direct his
1941
sculptural training towards the applied arts. In the late l880s
1942
hc was working on the portrait of Dean hiddell for Christ
1943
Church and the Ancastcr stone figure of A4:¢ry A4l¢g7d¢/G» for
1944
Magdalen College, Oxford. The terracotta bust of Ruskin by
1945
Dresslcr in the Tate Gallery was probably the one exhibited
1946
at the Royal Academy in 1885 (as no. 2009) and at the New
1947
Gallery in 1888 (as no. 320). It is reproduced in the A4l¢g#z;¢."c
1948
a/A77for 1891. A bronze bust said to be ofdiffcrent character,
1949
dated 1903, was presented to the Ruskin Memorial Hall,
1950
Bournville. It is probably identical with the one reproduced
1951
opposite page 374 as a supplement to the March 1901 issue
1952
of the A7¢¢.j}. It is likely that the Ashmolean's bronze was not
1953
originally conccivcd as a high rclicf but in the round. Indccd
1954
it appears to be an identical cast to that reproduced in the
1955
A77¢.ff but sawn down, perhaps bccausc of a flaw in the cast.
1956
It is so simplified in comparison with the earlier terracotta
1957
and so dull in surface that one must wonder what part Dresslcr
1958
played in its creation, for his best work is very sensitive,
1959
indccd over nervous, in texture, and during the l890s he
1960
experimented with lost-wax casting in his own small foundry
1961
(-M. H. Sp;id"n:n, British Scul2ture and Sculptors Of To-Day
(Ik)ndon,1901), 86). For Drcsslcr see also Nos. 476-7.
1963
BRITISH SCULPTURES, BY ARTIST'S NAME
1964
Conrad DRESSLER ( 1856-1940)
1965
@@PROCESS
1966
476. Profile portrait medallion of
1967
Sir John Mowbray
1968
20 cms. (dianetcr)
1969
Plaster cast. Incised in the model: `CoNRAD DRESSLER 1882' below
1970
the bust and `SIR JOHN MoWBRAy / MDCCCLXXXII' behind the
1971
neck. The frame, brilliantly ctlded, is also of plaster and integral.
1972
Frame chipped below. Mounted in a shadow box.
1973
Provenance recorded
1974
Drcsslcr seems to have cxhibitcd this portrait at the Royal
1975
Academy in 1889 (as no. 2031, fife Rf. Ho„. S¢.r/o4»
1976
A4low47ey. 8¢77., A41.P.), but perhaps in another medium.
1977
Mowbray ( 1815-99) was Conservative Member of
1978
Parliament for the University of Oxford from 1868 until his
1979
death. He was an Honorary Student of Christ Church, his
1980
college as an undergraduate, and had in 1836 been President
1981
of the Oxford University Debating Society. There is a similar
1982
plaster profile medallion by Drcssler of spenccr Horatio
1983
Walpole dated 1882 in the National Portrait Gallery (5215).
1984
For Drcssler see also Nos. 475, 477-9.
1985
44
1986
After Conrad DRESSLER ( 1856-1940)
1987
@@PROCESS
1988
477. Medallion profile bust portrait
1989
of Benjamin Disraeli, lst earl of
1990
Beaconsfield
1991
19 cms. (diameter of medallion visible within fromc); 20.6 cms.
1992
(probable diameter of medallion ); 23.9 cms. (diameter of frame)
1993
Copper electrotype. The metal remains furly bright. `coNRAD
1994
DRESSLER' is incised on the cutting of the bust. The relief is set in
1995
an ebonizcd pine frame. On the wooden backing to the frame `I.ord
1996
Beaconsfield / By / Courad Dressler' is written in pen and ink and
1997
`wlTH 18 / 6 / 30 / Cast of .... DI-to hay' is written in pencil.
1998
The elcctrotype is kept in the Coin Room as part of the collection
1999
of medals purchased from Colonel Michael H. Grant in 1953. It is
2000
included in his manuscript catalogue on p.140 as one of the two
2001
(see also No. 478) of 1880 and 1881.
2002
For Dresslcr scc also Nos. 475-7, 478-9. This electrotypc
2003
(or at least the original which it reproduces) was evidently a
2004
companion of that of Gladstonc which is of identical size and
2005
has the same tcxturcd ground. For a bronze version of the
2006
portrait see No. 478.
2007
BRITISH SCULPTURES, BY ARTIST'S NAME
2008
After Conrad DRESSLER ( 1856-1940)
2009
@@PROCESS
2010
478. Medallion profile bust portrait
2011
of Benjamin Disraeli, 1st earl of
2012
Beaconsfield
2013
28.7 cms. (diameter of medallion); 20 cms. (height of bust)
2014
Bronze with a dark brown patina. Sand-cast. Hollow behind the
2015
bust. `CoNRAD DRESSLER'/ `18 Ap 1880' incised funtly in the model
2016
under the cutting of the shoulder.
2017
The bronze has been kept in the room of the Muscum's administrator
2018
since c.1970. It came from the Heberden Coin Room whcrc it
2019
formed part of the collection of medals purchased from Colonel
2020
Michael H. Grant in 1953. It is included in the manuscript catalogue
2021
of his collection on p.140 as one of two such medals of 1880 and
2022
1881.
2023
The faintness of the signature makes it possible that the cast
2024
was not authorized. See No. 477 for another version of this
2025
portrait.
2026
After Conrad DRESSLER ( 1856-1940)
2027
@@PROCESS
2028
479. Medallion profile bust portrait
2029
of William Ewart Gladstone
2030
19.5 cms. (diameter of medalhion visible within frame); 20.6 cms.
2031
(probable diameter of medallion); 25. 5 cms. (diameter of frame)
2032
Copper electrotype. The metal has darkened. `Published ....
2033
8 / I.ondon .... 28th 1880 / CONRAD D .... ' in fundy incised
2034
letters can be read on the cutting of the bust. The relief is set in an
2035
ebonized pine frame with a split at 6.30 and a chip missing at the
2036
right edge. On the wooden backing to the frame
2037
`By / Conrad / Drcssler' is crudely painted in black.
2038
The electrotype is kept in the Heberden Coin Room as part of the
2039
collection of medals purchased in 1953 from Colonel Michael H.
2040
Grant. It is dated 1881 in Grant's MS catalogue (p.142).
2041
For Dressier see also Nos. 475-9. It is not known whether
2042
the making of this electrotype was authorized. If it was it is
2043
strange that the inscription is not clearly ledble. The lettering
2044
especially suggests that the electrotype was made from a cast
2045
taken from a plaster or bronze version of the medauion.
45
2047
BRITISH SCULPTURES, BY ARTIST'S NAME
2048
[Edward] Alfred [Briscoe] DRURY ( 1856-1944)
2049
@@PROCESS
2050
480. Tile decorated with lhies of the
2051
valley
2052
22.2 cms. (height); 20.7 cms. (width); 3.4 cms. (thickness)
2053
Artificial or `composition' stone with a colour and texture resembling
2054
hillstonc grit. `A: DRURy Nov/ 25th / 1875' scratched after firing on
2055
one side.
2056
Provenance unknown.
2057
The date would suggest that Drury, whose father was a tailor
2058
who had settled in Oxford, made this at the Oxford School
2059
of Art where he studied after he left New College Choir
2060
School presumably in about 1870 and previous to winning a
2061
place as a National Scholar at the National Art Training
2062
School, South Kensington (later to be named the Royal
2063
College of Art), presumably in about 1876-neither the Choir
2064
School nor the Training School retains records. There is
2065
nothing surprising about the tile as a design of this period
2066
and it may be compared with the stylized treatment of natural
2067
specinens found in the Oxford Museum or in Watcrhousc's
2068
Natural History Museum in South Kensington. The latter
2069
was close in date (commended in 1873) and included
2070
simulated carvings of botanical and zooloScal specimens of
2071
terracotta similar in both colour and texture to stone.
2072
According to M. H. Spielmann (whose source must have
2073
been Drury himself) Drury was inspired to become an artist
2074
by the sight of Chantrey's works in the University Galleries
2075
(British Scttlpture and Sculptors Of To-Day (.London, \90\),
2076
Ilo) and this carly effort-it may be his earhest surviving
2077
work-was perhaps presented to the Museum in gratitude.
2078
It is just possible, however, that it may never have left the
2079
museum, for the Oxford School of Art which Drury attended
2080
must be the Government school of design which the Curators
2081
of the University Gallcrics permitted to occupy the museum
2082
in 1866. The school had the use of the south end of the
2083
I,argc Gallery at first and then a part of the Chantrey Gallery
2084
(the prcscnt Ruskin Lecture Hall) and it was conducted by
2085
Mr Macdonald whom Ruskin also employed when his school
2086
was established. Ruskin's school seems to have driven the old
2087
school downstairs but it continued to operate within the
2088
Museum until 1895 (minutes of the Curators of the
2089
University Gauerics, AMS. 41, pp. 37, 38, 39, 42, 55, and
2090
@@PROCESS
2091
136).
2092
BRITISH SCULPTURES, BY ARTIST'S NAME
2093
Probably foundry of Alessandro Parlanti, Parson's Green,
2094
Fulham, or of Singer, Frome, Somerset
2095
After [Edward] Alfred [Briscoe] DRURY ( 1856-1944)
2096
@@PROCESS
2097
481. Griselda
2098
25.9 cms. (height including integral bronze base); 2.6 cms.
2099
(height of plinth); 22.5 cms. (length of plinth); 12.5 cms. (width
2100
of plinth)
2101
Bronze with a very pale and bright green varnish, dark green in the
2102
hollows, won to yellow on the salient folds of the sleeve and chipped
2103
off on nose and on bun. Hollow, lost-wax, cast. Mounted on a
2104
serpentine plinth swelling forward at front and back. Incised A.
2105
DRURy in the model in the houow at the back of the bronze base.
2106
Bequeathed by the Rcvd J. W. R Brocklcbank in November 1926.
2107
No. 10 on Andrew Shirley's receipt of January 1927 (`A bust,
2108
Beatrice').
2109
Drury exhibited `Griselda; bronze bust' at the Royal Academy
2110
in 1896 where it was much admired. It was purchased with
2111
the Chantrey Bequest for £70 and is now in the reserve
2112
collection at the Tatc Gallery. Reductions of this life-size
2113
work (53.5 cms high) are not uncommon and Susan Beattic
2114
( 777c Nie7p Sc#/Pf#7ic (Ijondon and New Haven, Conn., 1983),
2115
@@PROCESS
2116
242) lists examples in public collections in Glasgow, York,
2117
and Preston in addition to this one. Such reductions must
2118
have been made from a smaller model by Drury himself for
2119
they are not mechanical and there are numerous minor
2120
differences from the larger bronze: most notably there is no
2121
detached band hanging from the hair and no cherub in the
2122
hollow of the base in the smaller version. It is, however, less
2123
common than the 4gr a/a.""ocG#ce, a very similar bronze
2124
bust portrait of Gracie Doncaster exhibited at the Royal
2125
Academy in 1897 with which it has often been confused.
2126
The idea of terminating a bust in this manner was inspired
2127
by the renewal of popular interest in Italian quattrocento
2128
sculpture in the last quarter of the nineteenth century and had
2129
been anticipated in Britain by both Gcorgc Frampton (in his
2130
C47'¢.ff#de/ of 1889) and Edward Onslow Ford in his A j}#dy
2131
of c.1890). But the Italians had revived this type of bust by
2132
the 1860s-in forgcrics as well as imitations. The most famous
2133
of the former was Bastianini's imagivary portrait of Lucrezia
2134
Donati, acclaimed by Cavalcaselle as the masterpiece of Mino
2135
da Fiesole, but cxposcd as a modem work by Dr Alessandro
2136
Foresi in 1868, and acquired as such by the Victoria and
2137
Albert Museum in the following year (38-1869). In 1870
2138
Charles-Jean-Marie Degeorge ( 1837-88 ) exhibited his
2139
`Bernardino Ccnci' at the Paris Salon (no. 4412) with a great
2140
success which hc repeated at the Exposition Universelle of
2141
1878 (Musec de Lyon, 8497; other versions elsewhere). Hc
2142
had, significantly, created this bust in Italy. When Franpton,
2143
Ford, and other British sculptors came to revive this type of
2144
bust it is noteworthy that it was at first also for inagivary
2145
Portraits. In the case of this work by Drury, the subject was
2146
fi.om Italian Renaissance literature: Griselda is the heroine of
2147
Boccaccio's story in the Dcc¢owc7io7¢ (Day 10, Story 10) more
2148
finiliar to British readers in Chaucer's version, whose meek
2149
Patience and enduring love, submitted to cruel tests of virtue
2150
by her high-born husband, were proverbial. The inspiration
2151
for making a fanciful portrait from Boccaccio may well have
2152
been Canbi's bust of F¢.¢ac7"c## which Theodosia Trollope
2153
mentioned as having been four times repeated in her `Notes
2154
on the Most Recent Productions of Florentine Sculptors', in
2155
1861 (A#/a"7'7¢¢/ (I July 1861), 211). Drury's decision in
2156
the following year to adapt the same archaic, or at least quaint,
2157
format for a portrait of a contemporary seems to have been
2158
a novel departure. The last notable British bust to adopt this
2159
format was perhaps Epstein's portrait of Mrs Ambrose
2160
MCEvoy of 1909-10.
47
2162
BRITISH SCULPTURES, BY ARTIST'S NAME
2163
BRITISH SCULPTURES, BY ARTIST'S NAME
2164
Probably foundry of Alessandro Parlanti, Parson's Green,
2165
Fulham, or of Singer, Frome, Somerset
2166
After [Edward] Alfred [Briscoe] DRURY ( 1856-1944)
2167
@@PROCESS
2168
482. Spring
2169
43.6 cms. (height including base and plinth); 3.6 cms. (height of
2170
plinth); 14cms. (length of plinth); 12.45 cms (width of plinth)
2171
Bronze with a dark green patina. Hollow, lost-wax, cast. The rough
2172
base and spreading plinth are integral. Incised `A Drury' in the
2173
model on the base behind the figure.
2174
Bequeathed by the Revd R W. R Brocklebank in November 1926.
2175
No. 2 on Andrew Shirley's receipt of January 1927 (`A Statuette
2176
Female figure symbolising Victory, 17" high . . . on ebonised wood
2177
plinth'). The statuette was long off display; in recent years it had
2178
been employed as an ornament in the office of Ion I.owe: it was
2179
placed in 1988 in the newly decorated Combe Gallery.
2180
A bronzed plaster of this subject was exhibited as no. 56 in
2181
the exhibition Sc"/Pf#rc/or fife Hoowc mounted by the Fine
2182
Art Society in 1902 (S. Bcattie, 777e Niow7 Sc#/P£„yG (I.ondon
2183
and New Haven, Conn.,1983), 260 no. 61) with a note to
2184
the cffcct that an edition of twenty bronzes was available (or
2185
proposed?), each one to cost 40 guineas. Another cast is in
2186
the Laing Art Ganery, Newcastle upon Tyne.
2187
There is a relationship between this and the personifications
2188
of Epc„¢.»g and Mo7'7G¢.7¢g which Drury was commissioned to
2189
make as standard clcctric lights for the City Square in Lecds,
2190
one of which hc cxhibitcd at the Royal Academy in 1898
2191
(no. 1961 ). These works were much influenced by a decorative
2192
tradition in French sculpture, the N¢j¢f and D¢y by Pradier,
2193
for example.
I,{.#Har#f####i#',`'f
2195
BRITISH SCULPTURES, BY ARTIST'S NAME
2196
Probably the foundry of J. W. Singer and Sons, Fromc,
2197
Somcrsct
2198
After [Edward] Alfred [Briscoe] DRURY ( 1856-1944)
2199
@@PROCESS
2200
483. Joseph Priestley
2201
56 cms. (height of figure, including integral plinth); 2.5 cms,
2202
(height of serpentine sub-plinth )
2203
Bronze with a dark green patina, worn to pale green in the most
2204
salient points. A few scratches expose a yellow metal. Hollow,
2205
probably lost-wax, cast. Chisclled on the back of the plinth in the
2206
metal: `A DRURy' to proper left, and `1902' to proper right.
2207
Bequeathed through the National Art-Collections Fund by Charles
2208
H. Priestley of Marsh Baldon (born 1910, died 13 March 1988,
2209
exhibitioner at New College, Oxford, 1929-32, long the senior
2210
partner of the University's solicitors Morrell, Peel and Gamlen,
2211
appointed in 1978 Deputy Lieutenant for Oxfordshire). The
2212
sculpture was received in the Museum on 5 April 1988 and placed
2213
on display in the newly decorated Combe Gallery in the summer of
2214
that year.
2215
Drury's first great successes at the Royal Academy, his bronze
2216
statue of C¢.rcG and his bust of S£ 4g»cJ, were purchased for
2217
Lecds City Art Gallery in 1894 ( CG.rcc now stands outside in
2218
the grounds of Leeds City Art Gallery). This helps to explain
2219
why, later in the decade, hc received from Colonel T. Walter
2220
Harding (mayor bctwcen 1898 and 1899) the remarkable
2221
commission for a series of eight bronze electric lamp standards
2222
in the form of nearly nude women. Four of these casts were
2223
of a languid Epc"¢.g with her left arm raised and four of a
2224
more lively A4lorȢ."g with her right arm raised. EPGȢ.#g was
2225
cxhibitcd at the Royal Academy in 1898. These standards
2226
were designed to surmount a balustrade surrounding a
2227
colossal equestrian statue of the Black Prince by Brock in the
2228
City Square. Part of the same commission-nd also paid for
2229
by Harding-were bronze statuettes of Joseph Priestley by
2230
Drury and of Dr Hook by Pomeroy. Statues of two other
2231
local worthies, both by H. C. Fehr (John Harrison and James
2232
Watt), were given by RIchard Boston and Richard
2233
Wainwright. Although most of these works declare themselves
2234
on their sub-plinths as Sfts of 1903 that of watt dates the
2235
rift to 1898 and gives 1903 as the date of erection, and this
2236
was in fact the case with them all. The sculpture has unhappily
2237
been rearranged in recent years: an idea of its origival setting
2238
can be obtained from a photograph in the Sf#d¢.a for
2239
November 1903 (30: 165). Drury exhibited `Joseph Priestley,
2240
LL.D., F.R.S.; statue for City Square, Leeds' at the Royal
2241
Academy in 1899 (no. 1890). This was probably a plaster
2242
cast, a photograph of which is reproduced by M. H.
2243
Soyidm:am, British Sculpture and Sculptors Of To-Day
2244
(Ijondon,1901),112. The bronze in Leeds must date from
2245
1899 or from soon afterwards. It reproduces the artist's
2246
signature and the date `99' from the model and is chiscucd
2247
on the back of the plinth: `7w slNGER & soNs FouNDERs', as
2248
are the lamp standards.
2249
The date of 1902 on the Ashmolean's statuette might
2250
suggest that it was cast after the large version and is a reduced
2251
reproduction. It is, however, not an accurate reproduction.
2252
50
2253
Among the minor differences are the more prominent flaps
2254
to the bucklcd shoes and the position of the index finger over
2255
the lower part of the lens of the magnifying glass in the
2256
statuette. It would seem likely that the statuette reproduces a
2257
preliminary model and that the date, which is chiselled in the
2258
metal and not reproduced from the model, is that of the
2259
casting rather than the date when the model was made which
2260
is likely to have been 1898 or carly 1899. No other casts of
2261
the statuette are known to us. It may have been made for the
2262
Pricstley family to which the former owner, Charles Priestley,
2263
is thought to have belonged.
2264
Drury's later and far more familiar statue of Sir Joshua
2265
Reynolds in the forecourt of Burlington House is very similar
2266
in style and conception.
2267
BRITISH SCULPTURES, BY ARTIST'S NAME
2268
BRITISH SCULPTURES, BY ARTIST'S NAME
2269
BRITISH SCULPTURES, BY ARTIST'S NAME
2270
Probably foundry of Alessandro Parlanti, Parson's Green,
2271
Fulham, or of Singer, Frome, Somerset
2272
After [Edward] Alfrcd [Briscoc] DRURY ( 1856-1944)
2273
@@PROCESS
2274
484. Inspiration
2275
60.5 cms. (height including integral bronze base); 4 cms. (height
2276
of plinth); 22.7 cms. (1engiv of plinth); 20.6 cms. (width of
2277
plinth)
2278
Bronz: with a deep green patina. Hollow, lost-wax, cast in one
2279
piece. Mounted on a plinth with four bronze fcct at the corners
2280
and decorated with fillets of connemara green marble (one fillet
2281
behind missing). Incised in the model on the base proper left below
2282
edge of drapery: `A Drury 08'.
2283
Bequeathed by the Revd I. W. R Brocklcbank in November 1926.
2284
No. 3 on Andrew Shirley's receipt of January 1927 (`A Statuette
2285
Female draped figure holding laurcls' ) and never subsequently
2286
correctly named. Long off display; placed in 1988 in the newly
2287
decorated Combc Gallery.
2288
A version of the statucttc was exhibited at the Royal Academy
2289
in 1907 (no.1791) with the title `Inspiration-statuette,
2290
bronze, Study for statue for principal entrance, Victoria and
2291
Albert Museun'. It was companion with Kceow/GdgG, also for
2292
the principal entrance (no. 1780). Panels for the same
2293
Museum, including the `panel to be erected over the
2294
entrance', were exhibited by Drury in the following year (as
2295
nos. 1847, 1855, and 1863). The scheme had been agreed
2296
by Aston Webb, the architect in 1905. The Portland stone
2297
statues of J"fp¢.7i¢£¢.o» and K"ow/GofzgG still flank the Museum's
2298
principal entrance but differ in several respects from the
2299
statuettes. In the case of J»fp¢.#¢£G.o„ the right knee is drawn
2300
up in the statue and the cloak meets at her feet- difference
2301
conditioned by the tight nicheutnd the book is more clearly
2302
distinguished from the laurel-both for clarity when viewed
2303
from a distance and from below and because it was easier to
2304
carve these simpler forms. Another version of this statuette is
2305
known to me (paired with a J{»ow/c/gG) on the I.ondon art
2306
market. This version, hke the Ashmolean's, is dated 1908 and
2307
so it is unlikely to bc the one exhibited in the previous year
2308
(mustrated in the albums in the Royal Academy Library). A
2309
cast of I"fp¢.r¢f¢.odated 1909 with one of K#ow/c/E9c dated
2310
1916, both on Connemara marble plinths, were lot 56 at
2311
Christie's, I.ondon, 23 May 1991. They were marked `Tiffany
2312
& Co.'-the firm which seems to have marketed Drury's
2313
bronzes in the United States.
2314
52
2315
Probably foundry of Alcssandro Parlanti, Parson's Green,
2316
Fulham, or of Singer, Fromc, Somerset
2317
After [Edward] Alfred [Briscoe] DRURY ( 1856-1944)
2318
@@PROCESS
2319
485. Sculpture
2320
20.55 cms. (height of figure including bronze base); 3.3 cms.
2321
(height of plinth); 10.5 cms. (length of plinth); 9.4 cms. (width
2322
of plinth)
2323
Bronze with a pale grccn patina (less bright green than the J„/¢7?f
2324
B¢cc¢#f, No. 486, or the G".fc/d¢, No. 481); some verdigris around
2325
crown and elsewhere. Hollow, lost-wax, cast. Mounted on the plinth
2326
of pale serpentine. Incised `A. Drury' in the model on the base
2327
behind the figure.
2328
Bequeathed by the Revd J. W. R Brocklebank in November 1926.
2329
No. 26 on Andrew Shirley's receipt of January 1927 (`reclining
2330
female figure with a laurel wreath and an effigy').
2331
Uncertain how the figure should be labcllcd, C. F. Bell
2332
enquired of the sculptor himself. Drury wrote on 16 May
2333
1929 explaining that `the crouched woman's figure is the
2334
same as that on the right hand corner at the top of the marble
2335
frame of the John Oliver Hobbs [f¢.c] memorial in the I.ondon
2336
University I.ibrary'. He suggested that Bell might call it `What
2337
you like'.
John Oliver Hobbes was the pseudonym of Pearl Mary-
2339
Tercsa CraiSc (nee Richards), a star of Edinburgh high
2340
society whose elegant novels and plays were enormously
2341
popular and are now almost entirely forgotten. When she
2342
died aged 38 in 1906 her friends subscribed for a monument
2343
to be erected in University College where she had been
2344
educated. Since she was much admired in her native America
2345
it was decided to open a parallel subscription there under the
2346
auspices of Joseph Choatc, the American ambassador. This
2347
was a success and a rephca of the monument was
2348
commissioned and Barnard College selected as a suitable
2349
location, no doubt because Mrs Choate was a trustee and
2350
had helped found the institution. The only direct connection
2351
would seem to have been that Mrs Craigie had lectured with
2352
great success to the Barnard Union on Botticelli and Dante
2353
in the December before she died (B¢7'79¢7i¢ B#//e£¢.» ( 11
2354
Deccmbcr 1905),1).
2355
After some searching the memorial was declared in a letter
2356
to mc of October 1986 to be no longer in University College
2357
Library and the suggestion made that it was a victim of war
2358
damage, but on a more intensive search it was discovered on
2359
the wall above the entrance to `Enquiries and Take Out'. The
2360
replica of the monument seems to have been erected in the
2361
theatre of Barnard College. It was taken down when the
2362
theatre was rcnovatcd and was in March of 1983 on the
2363
basement floor outside the Central Records Office when there
2364
were moves to re-erect it again. When I called in late August
2365
1988 it could not be found, although it had recently been
2366
seen in a store room.
2367
In the University College version the bronze profile relief
2368
Portrait and the laurel crown against the smokey pink marble
2369
apron below have been crudely daubed with `gold' paint
2370
which has dribbled. The relief portrait is signed and dated
2371
1908. The tablet is crowned with two `bronze statuettes: a
2372
version of the Ashmolcan's figure but holding a mask
2373
(resembling, at first sight, a scvercd head) in place ofa statucttc
2374
and a figure, similarly posed but in revcrsc, holding a wreath
2375
and a book. The general scheme seems to have been invcntcd
2376
by Frampton for his memorial to Charles Kecne ( 1896, Tatc
2377
Gallery). Drury exhibited a `Mural Tablet to the late Pearl
2378
Mary Teresa Craigie ("John Oliver Hobbes") To be erected
2379
at University College, I.ondon and in America' at the Royal
2380
Academy in 1908 (no.1943) and a silver plaque of her,
2381
possibly identical to the portrait relief in the tablet but in
2382
another medium, in 1910 (no. 1839).
2383
Separate casts seem to have been made of the other
2384
allegorical figure crowning the memorial. One entitled
2385
L¢.£g#¢f#rc was no. 133 in the exhibition held at Foyles Art
2386
Gancry, London, 10 October-I November 1968, entitled
2387
`Collector's Luck, paintings, sculpture . . . in the collection of
2388
Mr Stowers Johnson'. It may be that Drury's rcplaccmcnt of
2389
the mask with a statuette made the Ashmolean's figure into
2390
an allegory of sculpture (as distinct from Drama which would
2391
have suited Hobbes). If so it might have been done to sell it
2392
as a pair with a kneeting personification of Painting holding
2393
a palette, examples of which have been on the I.ondon art
2394
market in recent years (Fine Art Society, October 1973;
2395
Christie's, 3 April 1985, No. 207-subsequently Agnews,
2396
wiriter r985. Old Master Drawings and Scttlpture, rro. 76).
2397
The manner in which the hair and drapery are built up in
2398
long thin, flat strips is highly characteristic of Dniry and
2399
perhaps reflects his use of plasticine as well as wax and clay as
2400
a material for modelling. The type of twisted kneeling pose
2401
reflects Drury's fascination with the work of Alfred Stevens,
2402
many of whose drawings hc owned (and some of which are
2403
now in the Ashmolean).
53
2405
BRITISH SCULPTURES, BY ARTIST'S NAME
2406
54
2407
BRITISH SCULPTURES, BY ARTIST'S NAME
2408
Probably foundry of Alessandro Parlanti, Parson's Green,
2409
Fulham, or of singer, Fromc, Somerset
2410
After [Edward] Alfred [Briscoe] DRURY ( 1856-1944)
2411
@@PROCESS
2412
486. Infant Bacchus
2413
24.1 cms. (height of figure including integral bronze base);
2414
8.2 cms. (diameter of bronze base)
2415
Bronze with a green patina, slightly scratched on the figure's back
2416
to reveal yellow metal. Hollow, heavy, cast. Iron armature in
2417
interior. Incised `A Drury' (the initial indistinct because of. burr) in
2418
the model on the side of the tree-trunk. Original onyx plinth (see
2419
below) untraccd.
2420
Bequeathed by the Revd J. W. R Brocklebank in November 1926.
2421
No. 31 on Andrew Shirlcy's rcccipt of January 1927 (`A young
2422
Bacchanal holding a wine cup 92J' high by A. Drury on onyx plinth').
2423
Uncertain how the figure should be labelled, C. F. Bell
2424
enquired of the sculptor himself. Drury rcphicd on 16 May
2425
1929 explaining `The little boy in bronze is a study for a panel
2426
which I did for the I.ivcr Insurance in Piccadilly' and urSng
2427
him to call it `what you like'. The building to which Drury
2428
rcfcrs is no.161 Piccadilly, on the corner of st James's Strcct,
2429
now the Bradford and Binglcy Building Society, origivally the
2430
office of the Royal Insurance Company. A photograph of
2431
1909 in the National Monuments Record (NBR DD60/125)
2432
shows it as it was shortly after opening. Drury cxhibitcd his
2433
`Panel over Entrance, Royal Insurance Office, St James's
2434
Street' at the Royal Academy in that year (no. 1738), probably
2435
as a plaster. The Royal Insurance building is one of the most
2436
aggressively chunky examples of Edwardian baroque
2437
architecture in the West End of I.ondon. It also features a
2438
cornice supported by paired nude boys in recesses beside
2439
oricl windows. Drury's panel, which is placed over the Doric
2440
entrance in the chamfered corner of the building between
2441
Piccadilly and St James's Street, is carved in Portland Stone.
2442
It consists of two putti whose twisted poses respond to the
2443
shape of the cartouche between them, and one of these figures
2444
is closely related to the Ashmolcan's bronze. Drapery,
2445
howcvcr, covers his hair, oak lcavcs from a branch emerging
2446
from under the cartouche conceal his genitals, and in his right
2447
hand he holds an ohvc branch to form a crown to the
2448
Company's emblem of a stork holding a twig in its beak.
2449
It sccms unlikely that Drury can ever have seriously
2450
proposed givng this child the attributes of Bacchus which
2451
could not have been appropriate for an insurance company
2452
and we must question his claim that it is a `study for' the
2453
panel. More likely hc saw that the torsion devised for
2454
decorative purposes could be given a narrative meaning (or,
2455
possibly, hc had cahier studies for a Bacchic subject in the
2456
manner of Jules Dalou in whose Paris studio Drury had
2457
worked between 1881 and 1885 which he adapted for the
2458
panel; after all the first sculpture he exhibited at the Royal
2459
Academy, in 1885, was A £7"."owP¢ a/SG./e»#J). This was a
2460
period in which modern bronze statuettes were most in vogue
2461
and there are other instances of Drury modifying
2462
commissioned pieces in order to create statuettes of a
2463
domestic scale (cf. Nos. 483, 484). The figure is suggestive
2464
of enchantment as well as of intoxication and is comparable
2465
in feeling with the C¢.7.cG which Drury exhibited at the Royal
2466
Academy in 1893, and had cast in bronze in the following
2467
year (this is now in the grounds of Lecds City An Gallery).
2468
The mood is also found in Frederick Macmonnics's B¢ccha#£g
2469
of 1896 (Metropolitan Museum, New York, and elsewhere).
2470
For the modelling in flat strips, very evident in the treatment
2471
of bark and hair, see No. 485.
55
2473
BRITISH SCULPTURES, BY ARTIST'S NAME
2474
Probably foundry of Alessandro Parlanti, Parson's Green,
2475
Fulham, or of Singer, Frome, Somerset
2476
After [Edward] Alfred [Briscoe] DRURY ( 1856-1944)
2477
@@PROCESS
2478
487. Crouching female nude
2479
(a Lifith)
2480
18.5 cms. (height); 8.8 cms. (length of base); 7.8 cms. (width of
2481
base)
2482
Bronze with a brown patina, varied from dark russet on base to
2483
yellow-brown on chest; spots of verdigris in the interstices; hollow
2484
(probably lost-wax) cast; iron armature wire in the interior; inscribed
2485
`A. DRURy.1912' in the model across the back of the rough rock
2486
base.
2487
Given by Cyril da Costa Andrade, of Morocco House, Bayard's
2488
Cove, Dartmouth, Devon, 1956, together with the figure by Phoebc
2489
Stabler (No. 570). RCSstcred on 3 October. Mr Andradc gave and
2490
bequeathed many items to the museum but most of these were
2491
ceramics-see No. 457 especially.
2492
The yearning look of the figure and the attitude suggest more
2493
than the usual pretexts for movement in a female nude+the
2494
wringing-out or winding-up of hair. There is a relationship in
2495
56
2496
pose with the sculptor's marble statuette £¢./¢.£¢, his diploma
2497
work, exhibited at the Royal Academy in 1916 (no.1941),
2498
although the head there is turned the other way to regard
2499
the snake sliding on her right arm. The rocky base is Similar
2500
in both works. Drury had exhibited a bronze statuette entitled
2501
LG./¢.£4 at the Royal Academy in 1913 (as no. 2012; Ray#/
2502
Ac¢deowy P¢.cf"ref ¢"d Sc#/P£#yG (I.ondon,1913), pl. 7) and
2503
this might have bccn cast in the year before. What may have
2504
been the same statuette was also exhibited there (as no. 1375)
2505
in 1945 (the year after his death). One other cast is known
2506
to us-in the I.aing Art Gallery, Newcastle upon Tync-but
2507
in it the fingers of one hand arc missing. It was made from a
2508
broken model, perhaps posthumously, which would be
2509
consistent with the identification as L¢./¢.£¢. Drury's fascination
2510
with poses of this sort is well demonstrated by the symmetrical
2511
sequence of nine panels involving ten kneeling and crouching
2512
women over the main entrance of the Victoria and Albert
2513
Museum (c.1908).
2514
Unknown foundry, perhaps that of Alessandro Parlanti,
2515
Parson's Green, Fulhan
2516
After Sir Jacob EI'STEIN ( 1880-1959)
2517
@@PROCESS
2518
488. Noneen (Head of a girl)
2519
33.7 cms. (height).
2520
Bronze with a very dark brown patina. Hollow, lost-wax, cast.
2521
Mounted on the origival tapering black slate plinth now adorned
2522
with the title in gold letters.
2523
Bequeathed, together with a collection of English twentieth-century
2524
paintings and drawings, by Thomas Balston in 1968 through the
2525
National Art-Collections Fund. Registered 8 February 1968.
2526
The head was modelled in 1919 and shown at his successful
2527
(and controversial) exhibition at the Ijciccstcr Galleries in the
2528
following year (as no. 9.>). Up to six bronze casts seem to
2529
have been made. See E. Silber, 7Z7G Sc%/P£#„ a/Epf£GG.%
2530
(Oxford, 1986), 146, no. 106 (the Ashmolcan version, her
2531
no. I, illustrated). According to Silber, Epstein tended to use
2532
Paulanti's foundry for portraits at this period (ibid. 116).
2533
BRITISH SCULPTURES, BY ARTIST'S NAME
57
2535
BRITISH SCULPTURES, BY ARTIST'S NAME
2536
Unknown foundry, perhaps that of Alessandro Parlanti,
2537
Parson's Green, Fulham
2538
After Sir Jacob EI'STEIN ( 1880-1959)
2539
@@PROCESS
2540
489. Peggy-Jean
2541
22.5 cms. (height)
2542
Bronze with a mid-brown to yellow-brown patina. Hollow, lost-wax,
2543
cast. Mounted on the original tapering black slate plinth, now
2544
adorned with title in gold letters.
Bequeathed in 1945 by Roger Fulford through the National Art-
2546
Collections Fund.
2547
The sitter was the sculptor's first daughter, born in October
2548
1918 and the subject of a series of busts from earliest infancy
2549
onwards. This is catalogucd by Evelyn Silber as the ninth
2550
portrait in the series and represents I'eggy-Jean laughing.,
2551
aged two years and nine months ( 777c Sc„/Pf"re a/Epj£G¢7¢
2552
(Oxford, 1986), 150, no. 124-the Ashmolean version, her
2553
no. 3, illustrated). The sculpture was exhibited at the Leicester
2554
Galleries in 1924. It seems then to have been available in an
2555
edition of up to six, but according to Lady Epstein, as cited
2556
by Shber, there was an edition of twelve. According to Silbcr
2557
Epstein tended to use Parlanti's foundry for portraits at this
2558
period (ibid.116).
2559
58
I-
2561
BRITISH SCULPTURES, BY ARTIST'S NAME
2562
David EVANS ( 1895-1959)
2563
@@PROCESS
2564
490. Bust portrait of Sir Aithur
2565
John Evans D.Lit., FBA, FRS, etc.
2566
66.5 cms. (height, including integral base); 19.5 cms. (length of
2567
integral base); 22.5 cms. (width of integral base)
2568
Carrara marble. Incised on the integral base to proper left:
2569
`DAVID . EVANS.' Mounted on a wooden pedestal of tapering term
2570
form painted white and adorned with standard `Georgian' ornaments
2571
painted gold.
2572
For provenance see below.
2573
Sir Arthur Evans ( 1851-1941 ) was Keeper of the Ashmolean
2574
Museum from 1884 until 1908 and Honorary Keeper 1908-
2575
41. As is explained in the Introductory Essay in Volume I, he
2576
secured for the Museum Fortnum's collections and the funds
2577
which made possible the transfer of the Ashmolean Museum
2578
to the University Galleries. He is most famous for his
2579
excavations in Crete. The bust was presented to Sir Arthur
2580
Evans by the Rt. Hon. Lord Rennell representing `friends
2581
and colleagues' at 4.15 on 17 December 1934 in the Rooms
2582
of the Society of Antiquaries, Burlington House. A printed
2583
circular (kept among the Evans papers in the Department of
2584
Antiquities) lists the friends and colleagues-vcr 300 of
2585
them-mostly archaeologists, but including C. F. Bell and
2586
Kcnncth Clark, who may be presumed to have subscribed
2587
for the bust not long before. The bust was exhibited at the
2588
Royal Academy in 1937 (as no.1451). It may be assumed
2589
that the bust was acquired by the Museum after Evans's death
2590
in 1941 : it was never regarded as belongivg to the
2591
Department of western Art and, not being a work of ancient
2592
art, its acquisition seems not to have been recorded by the
2593
Department of Antiquities. The sculptor, David Evans, was
2594
not related to Sir Arthur. He was born in Manchester, studied
2595
at the Manchester School of Art, the Royal College of Art
2596
(with a National Scholarship), and the Royal Academy
2597
Schools (where hc was a British Institution Scholar in 1921
2598
and a Landseer Scholar in 1922 and won the Rome Prize).
2599
Hc exhibited at the Royal Academy from 1921. In the
2600
Dictionary Of Contemporary British Arts o£ L92;9 (ed. 8.
2601
Dolman) hc described himself as a `modernist sculptor and
2602
carver'). It may have been the success of his portraits of John
2603
Galsworthy and Hugh Walpole shown at the Academy in
2604
1929 and 1931 that prompted the commission of the bust
2605
of iThur Evans.
59
2607
BRITISH SCULPTURES, BY ARTIST'S NAME
2608
Francesco FANELLI (active 1609nd2 )
2609
@@PROCESS
2610
491. Fountain-head in the form of
2611
Cupid, blindfold, riding a dolphin
2612
12.9 cms. (height); 8.5 cms. (length); 6.7cms. (width); 11.3 cms.
2613
(length of ebony base; 8.8 cms. width of same)
2614
Bronze with fire-Slding won at the most salient points (especially
2615
in the arms and right leg of Cupid) to reveal a yellow metal. Some
2616
black tarnishing in the hollows. Very thin-walled, hollow, lost-wax,
2617
cast. There is a firing crack at the point of contact between the tat
2618
of the dolphin and Cupid. The wing behind Cupid's right shoulder
2619
is broken off. A plug is evident beside the quiver and in Cupid's
2620
right thigh. The bow is missing from Cupid's left hand where minute
2621
traces of solder remain. The hole between the finger and thumb of
2622
Cupid's right hand has apparently been drilled, presumably to take
2623
a bow string. There are holes in the bronze (e.g. on top of the
2624
head), some of them caused by chaplet pins. Three such pins are
2625
still in place in the integral naturalistic base. A small arched aperture
2626
is cut out of the back of this base, presumably to admit a pipe which
2627
enabled the dolphin to spout. Mounted on an oval, moulded, base
2628
of ebonized wood. `8.434 G' is painted in black on the rim of the
2629
integral bronze base.
2630
I.ent by C. D. E. Fortnum in March 1888 and given later in the
2631
same year. 8.423 in his catalogues. `1 bought it in Italy', Fortn`rm
2632
observed in his large catalogue, but there is no note of provenance
2633
in the earlier notebook catalogue. A manuscript sheet headed
2634
`Memoranda of prices pald', includes the entry under 1859 `Br.
2635
Cupid on Dolphin dlt' for the sum of £2 10j..
2636
Fortnum who seldom expressed his enthusiasm in his
2637
catalogue had recourse to slang in describing the merits of
2638
this tittle bronze: `thc vigorous action and "go" denotes the
2639
modching of an able ha.nd'. Hc considered it to be `probably
2640
Venetian' and of the mid-sixtccnth century and observed that
2641
`it probably fomed part of a table fountain, a pipe having
2642
passed from behind through the dolphin's mouth'. On the
2643
opposite page of his notebook catalogue hc recorded the
2644
version in the collection of sir RIchard Wallace, an ungrded
2645
bronze today in the Wallace Collection (S85), which differs
2646
in minor details (having a different cap and fluttering ribbons
2647
on the quiver for instance), is better preserved, but is a similarly
2648
thin cast (now stopped up with wax) with firing cracks in one
2649
arm and on top of Cupid's right wing. Bode included the
2650
WalLacc bronze .in his Italian Bronac Statuettes Of the
2651
Rc"¢¢.fj¢#cc (London, 1907-12), ii, pl. Cljxv) as Venetian
2652
and of about 1575. C. F. Bell added a note to Fortnum's
2653
large catalogue that another example was in the collection of
2654
Alfred Beit and had been exhibited at the Royal Academy in
2655
the winter exhibition of 1904. Bode included this in his
2656
Italian Bronac Statuettes Of the Renaissance (i, pl. XLI1) as
2657
Florentine in origiv, or at least influence, and of the mid-sixteenth
2658
century. (This version remains in the Beit Collection
2659
at Russborough.) Another version was in the collection of
2660
the dcalcr T. M. Whitehead sold Christie's, London, 10 May
2661
1898, lot 101 (with a provenance from the Junze Collection
2662
sold seven years before in Paris): this was acquired by George
2663
Salting and formed part of his bequest to the Victoria and
2664
60
2665
Albert Museum (A.103-1910). This last version is gilded, like
2666
the Ashmolcan's, but, as with the Wallace bronze, there are
2667
minor variations in the modelling-the dolphin's tat does not
2668
make contact with Cupid's thigh as it does in the Oxford
2669
version-nd there are similar imperfections in the casting.
2670
There is also a variant of the group in which a very similar
2671
Cupid, but without a blindfold and with his right hand futhcr
2672
back, as if hc had just shot his bow, is seated on the dolphin's
2673
back. A version is in the National Gallery of Art in Washington
2674
(A.203.4lc) displayed as `Venetian, second half of the
2675
sixtccnth ccntury' (following J. Pope-Hennessy, Coowp/c£G
2676
Catalogtte Of the Sunttel H. Kress Collection.. Renaissance
2677
Brt7»2;eJ (Ijondon,1965), no. 520, fig. 553); another was at
2678
Christic's, I.ondon,13 December 1988, lot 136
2679
(uniuustratcd), and a third, Slded, version, attached to a
2680
fohatc backplate, scrvcd as the spout for a Ming blue and
2681
white baluster vase adapted as a table cistcm which was at
2682
Christie's, I.ondon, 6 December 1988 (mustrated there and
2683
also in Christie'§ International Magazine (RIov.-Dec. \988),
2684
46-7). These may bc invented at a later date than the more
2685
crisply modelled and dynamically composed group of the
2686
standing, blindfold Cupid. In any case they sccm to have been
2687
cast at a later date for one such group appears on a clock of
2688
about 1685 made for the English Crown by the ljondon
2689
maker Jeremic Gregory (Victoria and Albert Museum, W. 35-
2690
1976).
2691
Anthony Radcliffc, who first noted the version on the clock,
2692
was also the first to note that the Cupids in thcsc bronzes
2693
are of the same type (possibly even from the same model) as
2694
one that rides a galloping wild-maned horse in a bronze
2695
bronze group which survives in several versions and which is
2696
documented in the inventory of Charles I's collection as a
2697
work by `ffiancisco ffancllo', `ffiancisco the one eyed Italian'
2698
(A. Radcliffe and P. Thornton, `John Evelyn's Cabinet',
2699
Co»"o¢.ffc#7 (Apr. 1978), 262 n. ). Just as the Cupid rode both
2700
a dolphin and a horse, so the horse was ridden by St. George
2701
as wen as by Cupid (for this group see I. Pope-Henncssy,
2702
`Some Bronze Statuettes by Francesco Fanelli', EJJ¢yr o
2703
Jf#/¢.¢„ Sc"/P£„rc (London,1968),166-71 ).
2704
Fanelli ieceivcd payment for work for King Charles I on 8
2705
May 1635 and on 20 November received an additional
2706
payment from the Crown. In 1640 he signed the bust of the
2707
Prince of wales (today at Wclbeck Abbey) as `Sculptor to the
2708
RIng'. Vertuc recorded in the eighteenth century that he died
2709
in England but it has been conjectured that hc went into
2710
exile with the court in the carly 1640s and it is significant that
2711
one edition of his V¢".c ¢rc¢¢.£G##7iG appeared in Paris in
2712
1661. Hc may have returned to England after this (or of
2713
course before, for there is no reason to suppose that hc
2714
directly supervised this or any edition). On the title-page of
2715
the book Fanclli is described as sculptor to the king of
2716
Enaland-presumably Charles 11, unless the pubhshcr was
2717
employing an earlier text or indeed republishing the book.
2718
Here, as in the signature on the bust cited above, Fanelli
2719
insists on his Florentine origivs.
2720
Fanelli is in fact recorded in Genoa in January 1608 as the
2721
son of a Florentine sculptor, Virgilio Fanelli, casting bronze
2722
putti for an altar. Between July and October of the following
2723
year he was making a crucifix for G.-D. Spinola to the
2724
approval of the palntcr Giovanni-Battista PagS, and a smaller
2725
bronze crucifix, with a `zoccolo in forma di Monte' which
2726
was fitted with openings to serve as a cabinet, is mentioned
2727
as made by him for the same Genocsc patron in the following
2728
year. He is recorded on 4 September 1620 as receiving the
2729
commission to cast (`Manifatturarc') all of the bronzes for
2730
the Chapel of Our Lady in the Chiesa dclla Vigna, Genoa,
2731
under the supervision of Paggi and the sculptor Battista
2732
Orsolino. On 26 May 1627 he was commissioned to cast the
2733
bronze capitals of the sane chapel. (G. Varni, R¢.cor¢¢. dG.
2734
ql.:uni fepditori in bronac (GenoaL, L879), 52-3, and I.
2735
A+zRri,,N`o,t`ifje,deiproif?fsorideldisegnoinLeguriadalleorigini
2736
a/ fGco/a Xvr, 6 vols. (Genoa, 1870-80), vi. 196-9, and 394-
2737
6). Although it is generally assumed that his small bronzes
2738
made for English collectors (notably King Charles I and the
2739
duke of Newcastle) were first made in England, Fancm may
2740
have brought the moulds from Italy and the fact that a number
2741
of his small bronzes, including this one, have an Italian
2742
provcnancc also suggests this. (In this connection see also the
2743
entry for No. 492.)
2744
The fact that the Ashmolcan's Cg¢P¢.d o# ¢ ch/4¢¢.# served
2745
as a table fountain renrinds us of Fanclli's designs for grottoes
2746
and garden watervorks pubhished in V¢„.c ¢7ic4G.£e#eerG. This
2747
usually has a title-page dated Paris 1661 (but the copy in the
2748
Ashmolean Museum is undated). No two copies of this `book'
2749
seem to be compiled in the same order (I have inspected six).
2750
The plates were also issued in two series with separate titles:
2751
F?ntaip.e_s e? .jets d'?an, dessin6s d'apr¢s |s;Nc] les [has beaus
2752
li.e.tt.x d:Italie |!ar Fr. Fanelli Flor;ntin-Sc;lpterir dtt rot
2753
¢'4gleterre and De§sins de grottos par Fa!;elli (Bri;dsh
2754
Museum,1937-9-15-442-I-255). The former of these titles
2755
is significant because it acknowledges the unoridnality of the
2756
designs. The documents from Genoa suggest that in his larger
2757
work at least Fanelli worked under the direction of other
2758
artists, as well as making clear that he was a founder. Sandrart
2759
whilstclaimingthathcattractedthcattcntionofKingCharles1
2760
by a work in ivory also emphasizes his direct involvement with
2761
metal casting, his bronzes requiring no after work with either
2762
chisel or Elf i, schneiden oder f ellen (Teut§che Academic
2763
(Nuremberg, 1675), i. 350). It is indeed the case that this
2764
bronze and others by him have received little or no toohng.
2765
The results arc often very rough but this may have been
2766
acccptablc to patrons appreciative of the unfinished in other
2767
art forms such as old master drawings. One wonders whether
2768
thercisaconnectionbetweenFanclhiandtheltalianworkshop
2769
which produced the series of bronzes of which the Triton
2770
inkstand (No. 232) is an example, also remarkable for their
2771
lack of tooling. That workshop was also notable for
2772
permutations of stock elements. Fanelli's dolphin is similar to
2773
those which this workshop employed. The subject of Cupid
2774
riding such a fish however was a favourite one in the miniature
2775
arts of the Greeks and Romans-as exemplified, for example,
2776
by some gold ear-pendants in the Ashmolcan Museum
2777
(Oldficld Bequest no. 29)-as Fanem and his patrons surely
2778
knew.
2779
BRITISH SCULPTURES, BY ARTIST'S NAME
2780
Since this catalogue entry was written my attention has
2781
been drawn to the fuller biographical account and survey of
2782
the artist's work made by Patricia Wengraf for the catalogue
2783
o£ Cpe chi:hi[iton Kunst in der Repttbli-k Gentta 1528-18-15
at the Schim Kunsthalle, Frankfurt August-November, 1992.
2785
BRITISH SCULPTURES, BY ARTIST'S NAME
2786
Probably by Francesco FANELLI (active 1609nd2)
2787
@@PROCESS
2788
492. Laoco6n with his two sons
2789
10.55 cms. (height); 10.45 cms. (length); 4.I cms. (width)
2790
Bronze, with a warm brown natural patina and traces of black varnish
2791
in the hollows. Hollow, lost-wax, cast. There are two small holes
2792
in the back of I.aoco6n himself, and one similar hole beside his left
2793
foot. Integral rectangular plinth. Mounted on a block of fine
2794
patterned and unusually pink porphyry. `8 /451 G' is palntcd in
2795
white on the rear of the rock-work upon which the figures arc seated
2796
(the numerals are partially worn off).
2797
I.cnt by C. D. E. Fortnum in March 1888 and given by him later in
2798
the same year. 8. 451 in his catalogucs. Bought at the Dc I,a Salle
2799
sale in London for £21, according to the notebook catalogue. The
2800
margin of the notebook catalogue is also annotated with a resolution
2801
to rcnumber the bronze as 8. 462.
2802
Fortnum in his large catalogue wrote of this that `the
2803
modelling is very spirited, able, and artistic; it is cast directly
2804
from the wax'. He was aware of another version in the
2805
collection of J. C. Robinson (exhibited at the Burlington Fine
2806
Arts Club in 1879, no. 125) and noted that it differed in the
2807
details. C. F. Bell annotated the manuscript catalogue with
2808
rcfcrcnccs to one in Wiuiam Ncwall's collection exhibited at
2809
the Winter Exhibition of the Royal Academy in 1904 (case I,
2810
no. 10-this was sold at Christie's, I.ondon, 27-9 June 1922,
2811
lot 44) and to two in Florence-the versions now on display
2812
in the Bargello, numbered 531 (formerly 149, from the Uffizi,
2813
and hence probably the Grand Ducal Collections) and one
2814
numbered 219c (from the Carrand Couection). One is also
2815
in the Staathchc Museen, Berlin-Dahlem ( 1953, in reserve;
2816
Bode, Italian Bronac Statuettes Of the Ranai§§ance (London,
2817
1907-12), pl. LXXXIV) and another is in the Fitzwilliam
2818
Museum, Cambridge (M24-1951).
2819
All these works are very close in character and size and the
2820
differences are best explained by there being moulds fi-om
2821
which wax casts were made which had to be worked up before
2822
investiture for the bronze casting. Thus in the larger foms,
2823
the rock, the body of I.aco6n, and indeed his head, there is
2824
little variation, whereas the snakes are always varied and so is
2825
the raised am of the boy to proper left of the group.
2826
The group is loosely based on the famous antique marble
2827
group in the Vatican but the sculptor has imagived the action
2828
as it would develop, with one son having given up the struggle.
2829
Fortnum noted that a similar attitude to the subject was taken
2830
by the modeller of one of his Renaissance medals (no. 707 in
2831
his catalogue, 120.19 in the Museum's typescript catalogue;
2832
Mohinier 615 ).
2833
The Leocod." groups must bc associated with others
2834
reprcscnting the Dc¢£b a/Acf¢eo„, Ve#"f ¢„d Ade„G.f, and
2835
07P4e"f ¢#¢ CG#4cr#f ( all represented in the Victoria and
2836
Albert Museum, but also, with variations, in other collections)
2837
which are of similar size and modelled in the same way, cvcn
2838
with the same thin vermiculate elements reflecting a technique
2839
of rolling the wax, and cast with the same thin walls and
2840
frcqucnt perforations and cracks, and little if any tooling. In
2841
turn these bronzes must be associated not only with larger
2842
62
2843
groups of the same and similar subjects but with rclicfs, and
2844
in particular a pair reprcscnting CbrG.¢ c¢»)i¢."g fife C#orJ and
2845
th:a Holy Funily with the robberJs child (rcpreseITted in
2846
numerous public collections including the Victoria and Albert
2847
Museum, the Metropolitan Museum, New York, the
2848
Minneapolis Institute of Art, and the Spenccr Art Gallery of
2849
the University of Kansas at I.awrencc). These reliefs in turn
2850
arc very close in technique and quite close in style to the little
2851
square reliefs representing aninals and the larger reliefs
2852
raprcsendmg Orphetts charming the animal kingdom a;nd cha
2853
reowp£¢f¢.a" a/Ad¢co ¢#d Epc (for which see A. Radcliffc and
2854
P. Thornton, `John Evelyn's Cabinct', Co„„o¢.JJc#7 (Apr.
2855
1978), 254ndl ). These in turn arc similar in technique to
2856
and have some compelling stylistic similarities with the little
2857
bronzcs which correspond to those described by Vcrtue in
2858
the eighteenth century as by Fanclli and belonSng to the earl
2859
of Oxford, having oridnally been made for the duke of
2860
Newcastle (J. Pope-Hcnncssy. `Somc Bronze Statuettes by
2861
F[ancesco Fanelli:' , Essays on Italian Sculptwre (Ijondon,
2862
1968),166-71).
2863
Reviewing these highly convincing connecting chains
2864
chiefly built up by Jcnnifer Montagu and Anthony Radcliffe
2865
it must be admitted that no direct connection can be made
2866
betwccn the style of the miniature L¢ocod." groups and any
2867
of the statuettes listed by Vertue, or included in the inventory
2868
of King Charles I, as by Fanelli. If the L¢ocod.„ groups are by
2869
Fanclli then it is intcrcsting that one version at least has an
2870
old Italian provenance, for it suggests that hc made some of
2871
them before settling in England. Before the connection with
2872
Fanelli was proposed, the IA¢ocod." groups were generally
2873
considered to be Italian of the sixteenth century and this was
2874
also Fortnum's opinion. One version in the Bargcllo has
2875
recently been published as Geman (A7¢¢. ¢e/ A4ledS.oovo G ¢c/
2876
Rinaccimento-Oma{qqio ai Carmnd (Florence. L989), 26\ ,
2877
no. 46).
2878
BRITISH SCULPTURES, BY ARTIST'S NAME
2879
BRITISH SCULPTURES, BY ARTIST'S NAME
2880
Probably William Pitts ( 1790-1840)
2881
After John FIAXMAN ( 1755-1826)
2882
@@PROCESS
2883
493. Shield of Achilles
2884
95.5 cms. (diameter)
2885
Bronze with a dark chestnut brown to black patina. Sand-cast in
2886
two chief pieces: the central circle, with the continuous line of stars
2887
on the circumference, as one piece, and the remainder as the other
2888
piece. On the reverse the irregular rim of the outer piece may be
2889
seen, folded over at the soldered junction with the central circle.
2890
The six projecting forelegs and two projecting heads of the horses
2891
of Apollo have all been cast separately. Some of the attachments are
2892
visible in the hollowed reverse. In the case of the foremost legs
2893
nearest the centre to either side it is not the whole but merely most
2894
of the leg that has been cast separatelyut hair-line join above the
2895
knees can be seen on close inspection. The reverse of the outer piece
2896
reveals at least three vestigial seams corresponding to the manner in
2897
which the mould was assembled. Two suspension rings are soldered
2898
to the reverse of the central circle and two to one side (not to the
2899
top) of the outer rim.
2900
Given by `Messrs. Rundell and Bridge' on 14 October 1842
2901
(Minutes of Hebdomadal Board) payments are recorded for `Iron
2902
work for Shic[d' on 13 April 1846 probably in connection with
2903
hanSng it in the University Galleries. It was placed in the Principal
2904
Sculpture Gallery (now the Randolph Gallery) near Westmacott's
2905
T77.¢/ a/Soc7i¢fgf (No. 589 ) and the small copy of the Dy¢."gg/¢¢;¢£07
2906
(ENo. 5L9). (Handbook Gttide f or the University Galleries (Oxford,
2907
1865),14). (A cast of the shield now in the Fitzwilliam Museum
2908
was given to the University of Cambridge by Rundell and Bridge in
2909
1842). The shield has long hung in the centre of the north wall of
2910
the Print Room above the cabinets: it is likely to have been placed
2911
there at the same date as the groups by Alfred Stevens (Nos. 571-
2912
2) which flank it.
2913
The reconstruction of the storiated armour described in
2914
ancient epic poetry had much' exercised antiquarians and
2915
artists in the eighteenth century, but the fabrication of such
2916
in metal was typical of the last century. It is not known when
2917
exactly Flaxman was commissioned by the royal goldsmiths
2918
and jewcllers Rundell, Bridge and Rundell of 32 Ludgate
2919
Hill, Ijondon, to design a modern version of the most famous
2920
of such pieces of armour, the shield fashioned by Hephaestus
2921
for Achilles and described at length near the cnd of the
2922
eighteenth book of the I/¢.¢¢. Nor is it clear whether the idea
2923
came from the goldsmiths or from Flaxman himself: Flaxman
2924
was certainly an obvious choice since he had made his
2925
reputation with his illustrations for Homer and connoisseurs
2926
may well have realized that he excelled in relief on a relatively
2927
small scale.
2928
Maria Denman, Flaxman's niece, protested against Alan
2929
Cunningham's suggestion that Flaxman's source was Pope's
2930
translation. We need not suppose that Flaxman was a classical
2931
scholar, as she implied, but his study of the poetry was
2932
certainly as reverential as his treatment of it was imaginative.
2933
The a]:ronyrrLorus Memoirs Of the late Philip Rundell (Lendon>
2934
1827), 22-3, pictures the learned goldsmith listening for
2935
hours on end to the learned sculptor reading from the I/G.¢d
2936
which suggests a finiliarity between them that is improbable,
2937
64
2938
but the commission certainly was conceived more as artistic
2939
`sponsorship' rather than a mere commercial venture. The
2940
sponsorship had a promotional aspect of course but this
2941
depended upon the work being relished by scholars and
2942
connoisseurs. The chief source surely ty¢f Pope's translation.
2943
There shone the image of the master-mind:
2944
There earth, there heaven, there ocean he designed;
2945
The unwearied sun, the moon completely round;
2946
The starry lights that heaven's high convex crown'd . . .
2947
The centre of the shield rcprescnts the heavens and the border
2948
the oceans. The circuit of reliefs between represents life on
2949
earth. Flaxman places the chariot of the sun in the centre of
2950
his shield surrounded by the constellations, giving the sun an
2951
emphasis which is not found in Homer, but he must have felt
2952
that some climax and focus was essential and this was certainly
2953
appropriate. The circuit of reliefs commences below the centre
2954
at 6.00 and progresses anticlockwise.
2955
Here sacred pomp and genial feast delight,
2956
And solemn dance, and hymeneal rite.
2957
The feasting is seen in the background; the bridal procession
2958
in front. This graduates into a scene of citizens quarrelling
2959
over homicide (a supine victim can just be perceived on the
2960
ground) and over the payment of a debt, which is followed
2961
by a judicial appeal presided over by elders on stone seats.
2962
Then there is an abrupt transition (abrupt in Homer as well)
2963
to a scene of warfare before a besieged city. Some of the
2964
besieged ambush their assailants, assisted by Minerva and
2965
Mars. Flaxman chose not to emphasize the slaughter of sheep
2966
and oxen which this entailed, but one carcass of each animal
2967
can be seen to the right. There is then another transition.
2968
Oxen driving ploughs are represented moving in two
2969
directions and the landlord waits to reward the sweating
2970
labourers with a goblet when they ton round. Beside this is
2971
a field of grain which is cut with sickles by men, bound into
2972
sheaves by women, and carried off by children. Meanwhile an
2973
ox is slaughtered for the harvest feast. Next we see the vines
2974
gathered in and four brave herdsmen with nine cowardly
2975
dogs confronting a predatory pair of lions.
2976
The last scene represents a dance:
2977
The maids in soft simars of linen dress'd;
2978
The youths all graceful in the glossy vest:
2979
Of those the locks with flowery wreath inroll'd;
2980
Of these the sides adorn'd with swords of gold,
2981
That glittering gay, from silver belts depend.
2982
Now all at once they rise, at once descend,
2983
With well-taught feet: now shape in oblique ways,
2984
Confusedly regular, the moving maze:
2985
Now forth at once, too swift for sight, they spring,
2986
And undistinguish'd blend the flying ring:
2987
So whirls a wheel, in giddy circle toss'd,
2988
And, rapid as it runs, the single spokes are lost.
2989
The gazing multitudes admire around:
2990
Two active tumblers in the centre bound . . .
I-
2992
BRITISH SCULPTURES, BY ARTIST'S NAME
2993
The economy with which Flaxman represents this in a few
2994
inches is worthy of special comment, as is his intelligence in
2995
combining it with the marriage procession so that that relief
2996
divides into thrcc rather than four pairs: Peace, War, and the
2997
sources of wealth and health (bread, wine, and meat).
2998
Flaxman's close attention to the text is remarkable and
2999
apart from the emphasis given to Apollo the only important
3000
difference lies in his avoidance of pictorial effects, the city
3001
background for the marriage, and still more the landscape with
3002
forests, sheep folds, and pasture upon which Homer dwells
3003
after his description of the lion attack. Flaxman knew of
3004
course that ancient Greeks would not have included such
3005
effects in a sculpture. Indccd even the very low-relief
3006
backgrounds and overlapping planes that hc does allow were
3007
such as one would not find in ancient Greek work. (In this
3008
respect Ludwig van Schwanthalcr's S¢¢.G/¢ a/He7i¢4/Gf in the
3009
Liebieghaus, Frankfurt, may bc taken as a purist correction
3010
of Flaxman. ) The most surprising respect in which Flaxman's
3011
shield departs from Homer's is that it was made in uniform
3012
silver gilt or uniform dark brown bronze whereas the passage
3013
in Homer, like most poetic accounts of ancient metalwork,
3014
emphasizes variety of colour from alloys, inlays, burnishing,
3015
or patina. Thus the waves on the edge should be bright silver,
3016
the harvests should bc bright gold, and, in the dance, the men
3017
have gold swords hung on silver belts.
3018
It has been suggested that the shield origivated in a plan
3019
for plate to be prcscnted to the duke of wellington and this
3020
is not impossible when it is recalled that the `Ijadics of Great
3021
Britain' erected a colossal bronze statue of Achilles as a tribute
3022
to the duke. Certainly the similarly large and elaborate
3023
storiated shield commissioned in 1814 by the Merchants and
3024
Bankers of the City of I.ondon for presentation to the duke
3025
of wellington (today in Apsley House) and made for Green,
3026
Ward and Green, the chief rivals of Rundell, Bridge and
3027
Rundell, by Benjamin Smith after designs by Thomas
3028
Stothard, a friend of Flaxman, must have been a significant
3029
stimulus since it was being made in the same period-it seems
3030
in fact to have been completed a little later. And it is probable
3031
that Flaxman had hoped to secure this commission.
3032
Nevertheless the first rcfercnccs to the shield are still earlier
3033
in date. A letter from the firm dated 29 October 1810 (on
3034
fo. 98 of the volume of autograph letters to William Hayley
3035
in the Fitzwilliam Museum) mentions a payment of 15
3036
guineas for three drawings and one of loo guineas `for the
3037
beautiful design of the shield of Achilles', adding `we do not
3038
attempt to put a price upon that excellent performance'. The
3039
letter continues, `we trust that Mr Theed under the occasional
3040
inspection, which you have been kind enough to promise, will
3041
be able to execute to your satisfaction this exquisite design'.
3042
The plan for Theed to execute the model must have been
3043
abandoned and the whole idea revised for in a letter of 8
3044
September 1814 Flaxman's wife wrote that he had
3045
`recommcnc'd the model of the famous shield upon a larger
3046
plan' (ibid. fo. 47).
3047
Flaxman entered £200 in his ledger `on account of shield
3048
of Achilles' on 4 January 1817-it is clear, however, from
3049
other sources that work on the revised commission
3050
Commenced considerably earlier. He recorded below this
3051
entry that he had been paid £525 (i.c. 500 guineas) on 20
3052
January 1818 for the `model' (MS ledger in the Montgomery
3053
Library, Columbia University, New York, p. 93, using page
3054
numbers at tops of pages, nearest the binding). There are no
3055
entries in Flaxman's ledger for Rundell, Bridge and Rundell
3056
with an earlier date, but subsequent entries continue to the
3057
cnd of his life. These other entries are specifically for `sketches',
3058
`drawings', or `designs') (e.g. `skctch for an ink stand', `two
3059
drawings of a candelabrum for the Queen') and all recorded
3060
payments are for no more than 8 guineas with two exceptions:
3061
a payment of 20 guineas made on 10 January 1818 for `2 bas
3062
reliefs for Mr. Kemble's cupndelivered to Mr. Storr' and
3063
one for `6 designs for the Ambassadors Box' for which hc
3064
received 25 guincas on 25 December 1825. The number of
3065
drawings supplied is an adequate explanation for the high
3066
payment in the second case, but in the first one might suspect
3067
that a model was involved. J. T. Smith, who was well
3068
acquainted with the circumstances of the Kemble
3069
prcsenta.don, noccd (Nollchens and His Times (-Ijondon,
3070
1828), ii. 448) that Flaxman did not take payment for his
3071
drawings in this case but also noted that the models were
3072
made by his pupil E. H. Baily (who was a major source for
3073
his information on Flaxman), so Flaxman was probably
3074
accepting payment on Baily's behalf. It would seem then that
3075
Flaxman did not become chief modeller to Rundell, Bridge
3076
and Rundell as has been claimed (D. Irwin, Jo¢» F/¢I¥ow¢"
3077
(London, 1979), 194) but may only have modelled the S4¢.c/d
3078
a/Ac¢¢.//cf for the firm. Certainly the payments for the S4¢.c/d
3079
a/Ac4¢.//cf arc altogether exceptional.
3080
It is reasonable to assume that the models for the shield
3081
would have been made in clay or wax from which a plaster
3082
cast would have been taken. J. T. Smith, presumably relying
3083
on Baily's account, wrote that Flaxman `first modelled the
3084
general design, without attending minutely to the rcspcctive
3085
parts; it was then moulded in compartments, and cast in
3086
plaster, and he afterwards finished it up by cutting away to
3087
that inimitable height of excellence, which enabled his spirited
3088
employers to produce the splendid casts of it in silver Slt . . .'
3089
(op. cit. 446). It must have been of a special type of gesso
3090
for plaster of Paris cannot safely be tooled. This model was
3091
either in five parts or was divided into five parts-uter rim,
3092
inner circle, and three sections of frieze-from which moulds
3093
were made. From these moulds silver, bronze, and plaster
3094
casts could be made. The casts in silver and bronze would
3095
have required extensive tooling and it was doubtless for this
3096
reason that Flaxman also supplied finished drawings.
3097
Four silver Slt casts were made of the shield. One had been
3098
cast by late September 1819 and was reported as so perfect
3099
that little finishing was needed. As S. Bury and M. Snodin in
3100
`The Shield of Achilles', A77 ¢f A"c£;o#, So£¢Gky IP83-1984
3101
(I.ondon, 1984) 274-83, point out, this is likely to have been
3102
the cast with the date letter for 1821-2 made for King Gcorgc
3103
IV (which remains in the Royal Collection). It was on display
3104
at the Coronation Banquet in July 1821. Another with the
3105
same date letter was made for the duke of York (today in the
3106
Huntington Art Museum and Library, California). Two more
3107
were made with the date letter for 18234, one for the 2nd
3108
earl of I.onsdale (today at Anglesey Abbey, National Trust)
65
3110
BRITISH SCULPTURES, BY ARTIST'S NAME
3111
and another for the duke of Northumberland (sold at
3112
Sotheby.s, I.ondon, 3 May 1984, lot 124, exhibited Christic's,
3113
I.ondon, January 1990, as part of the Al-Tajir Collection). In
3114
addition a linitcd edition of plaster casts, probably only three,
3115
were made-ne of these remains with the Royal Academy,
3116
another belonged to John Gawlcr Bridge, and a third
3117
belonged to Sir Thomas Lawrence. (A. Cunningham, £¢.t7cJ
3118
Of the British Painters, Scttlptors and Architects, .iri (`hondon.
3119
1833), 3524, says that three only were made and that these
3120
belonged to the Academy, to the artist himself, and to
3121
I.awrence. ) The value attached to these is clearly demonstrated
3122
by the fact that I.awrence's cast was bought by Rundell,
3123
doubtless worried about the opportunities for piracy it
3124
provided, at Lawrence's sale, Christie's, 6 July 1830, lot 68,
3125
for the surprisingly high price of fl3. 2j.. 6¢. This is likely to
3126
be the war-damaged cast presented to the British Museum by
3127
the firm. (There must also have been aftercasts of which the
3128
bronzed plaster which was exhibited at the Heim Gallery in
3129
the spring of 1976, no. 92, was surely an example.)
3130
It is not known when the bronzes were cast but it is possible
3131
that this did not take place until the 1830s. That the bronzes
3132
were finished by Pitts is clear from the evidence given by
3133
George Foggo to a Select Committee on Arts and
3134
Architecture in 1835 (cited by Bury and Snodin, pp. 52-3).
3135
The job involved the fitting of separately cast horse's legs and
3136
was highly complex. It is said that Pitts also worked on the
3137
chasing of the silver Slt versions of the S¢G.c/d a/Ac4¢.//cf and
3138
also on the Wellington shield: he was indeed better known
3139
for his work as a silver chaser (his father John Pitts, to whom
3140
hc was apprenticed, was also a chaser) than for work on
3141
bronze, but he was a versatile artist and was also responsible
3142
for work in stucco at Buckingham Palace. In any case it is
3143
remarkable how the tooling and construction of both the
3144
bronze versions is identical in character to the methods
3145
employed for the silver Slt ones.
3146
Pitts himself was said to have been working on a S4¢.c/d a/
3147
Ac"e¢f when hc died and the influence of Flaxman's shield
3148
was felt particularly in the middle years of the nineteenth
3149
century with such works as the chiselled steel shield of Italian
3150
poetry of c.185l by Antoine Vechte (Victoria and Albcrt
3151
Museum 1482-1852) or the electrotype Milton shield of
3152
1867 by Vechte's pupil I.eonard Morel-Ladeuil.
3153
BRITISH SCULPTURES, BY ARTIST'S NAME
3154
Probably foundry of J. W. Singer and Sons, Frome, Somersct
3155
After Edward Onslow FORD ( 1852-1901)
3156
@@PROCESS
3157
494. Folly
3158
48.7 cms. (height including integral rock-work base); 10.6 cms.
3159
(diameter of rock-work base); 2.8 cms. (height of serpentine
3160
base); 12.5 cms. (diameter of serpentine base)
3161
Bronze with a black vanish in places slightly green and bl.own. The
3162
varnish is chipped in small areas on the rock-work base. Hollow,
3163
probably lost-wax, cast. Either the figure is cast separately from the
3164
rock-work base or remains filled with core: the hollow interior does
3165
not extend to the figure's legs. There appears to be a rectangular
3166
patch of metal inserted behind the knee of the figure's right leg
3167
(this could bc part of an angular join).
3168
Bequeathed by the Revd J. W. R. Brocklebank in 1927. No. 9, `a
3169
nude figure of a Nymph standing on rockwork 19" high by
3170
A. Gilbcrt', in Andrew Shirley's receipt of January 1927.
3171
Ford had received his artistic education in Antwerp and
3172
Munich. Trained as a painter, he tuned his attention to
3173
sculpture in the mid-1870s and his first great success was
3174
Fo//y, modelled 1885nd and exhibited at the Royal Academy
3175
in 1886 as a large bronze statuette, 3 ft hich, which was the
3176
Chantrey purchase (now Tate Ganery reserve). Another cast
3177
of this size is in the National Gauery of scotland, Edinburgh.
3178
A third was in the autumn of 1989 with the dealers Edric
3179
van Vredcnburgh and Dick Coats. This last cast is
3180
distinguished by the most extraordinary trcatmcnt of the hair
3181
as a mass of fine wire. The smaller casts of the size of the
3182
Ashmolcan's are far more common: there is one in the I.ady
3183
Lever Art Gallery, Port Sunlight, one was at Sothcby's,
3184
Ijondon, 16 April 1986, lot 258, and another was recently
3185
on the art market, dated 1893 but these smaller casts must
3186
have been made from a model available before 31 May 1890
3187
when the figure was said, in an article on small bronzcs in the
3188
S¢f#rdyRcp¢.era7,tohavcbecnavallablcinaneditionpublished
3189
by Arthur Leslic Collie, of 398 Bond St, who seems to have
3190
been associated with the establishment of lost-wax bronze
3191
casting by the Singer firm under the direction of Herbert
3192
Singer in 1888, or shortly before.
3193
There is an admirable account of the statuette's character,
3194
antcccdcnts, and appeal in Susan Beattie's 777c NGw Sc#/P£"7G
3195
(I.ondon and New Haven, Conn.,1983),153-5, to which
3196
one might only add the possible influence of the most
3197
attractive ( but least finiliar today) of I,ord Leighton's bronze
3198
figures, his bathing girl alarmed by a frog, NCG¢/cff 4/¢yxpf
3199
(a cast of which in the Victoria and Albcr[ Museum,1054-
3200
1905, is inscribed as published by Collie in November 1891,
3201
but which was certainly known before then).
67
3203
BRITISH SCULPTURES, BY ARTIST'S NAME
3204
68
3205
BRITISH SCULPTURES, BY ARTIST'S NAME
3206
After Dame Elisabeth FRINK (b. 1930)
3207
@@PROCESS
3208
495. Mirage
3209
37.6 cms. (height including integral plinth); 0.6 cms. (height of
3210
plinth); 20.5 cms. (length of plinth); 6.1 cms. (width of plinth)
3211
Aluminium. Solid, lost-wax, cast. Scratched `FRINK 4/7' on one side
3212
of the upper surface of the integra.I plinth. `pRESENTED By / MR. R.
3213
ALISDAIR (J¢.c) MCALPINE / 1969-136' painted in red on the
3214
underside of the plinth. A tape stamped `A 1839' is also stuck there.
3215
Given by Alistair MCAlpine of Fawley (now I.ord MCAlpine of west
3216
Grccn) in 1969. ReSstered on 4 July 1969.
3217
The Sft came soon after the purchase by the Dcpartmcnt of
3218
the large drawing A4l¢7e ¢»¢ b#// from an exhibition of Frink's
3219
work at the Waddington Gancries, Cork Street. Ijord
3220
MCAlpine's cncouragcmcnt of the Museum's interest in
3221
modem art was to lead to his donation of the MCAlpine
3222
Gallery, completed in 1973.
69
3224
BRITISH SCULI'TURES, BY ARTIST'S NAME
3225
George GARRARD ARA ( 1760-1826)
3226
@@PROCESS
3227
496. Thoroughbred stallion rearing
3228
10.6 cms. (height); 14.9 cms. (from tail to off-fore hoof); 2.4 cms.
3229
(height of plinth); 10.5 cms. (length of plinth); 7 cms. (width of
3230
plinth)
3231
Bronze with a dark brown varnish, chestnut where slightly worn,
3232
chipped in some places. Yellow metal is revealed in small patches
3233
on salient parts of tail and mane. Presumably hollow cast. There is
3234
much evidence of chiselling and punching. The tail is cast separately.
3235
There is a seam across the horse's chest. Stamped `G. GARRARD. ARA'
3236
on the belly of the horse. Bolted by the rear hoofs to a plinth of
3237
white marble. The underside of the plinth is inscribed by the former
3238
ouncr in pencil: ` 13 years / 1945 / May 1 / 1958'; `GARRARD ARA
3239
1760-1826'.
3240
Given by Mrs Gcrda Winser of Dean Buildings, Chipping Norton,
3241
on 9 November 1988. Purchased by her on I May 1945 for £1
3242
from a dealer who had recently obtained it, together with a clock,
3243
as a lot in a house sale of a descendant of the sculptor in Chipping
3244
Norton. Given by her to her late husband on their thirteenth
3245
wedding anniversary.
3246
70
3247
Garrard began his career as an animal painter, the pupn and
3248
a son-in-law of Sawrcy Gilpin. He exhibited paintings at the
3249
Academy from 1781 but in 1795 began to exhibit models of
3250
aninals-mostly British agricultural specimens, but also some
3251
more exotic examples. He exhibited a bust of a young lady in
3252
1801 and thereafter frequently exhibited portrait busts, some
3253
of them in marble. He showed some poetic subjects and
3254
strove, with little success, to obtain commissions for large
3255
monumental works, but was always chiefly esteemed for his
3256
small animal studies and portraits. It is not known when he
3257
began to specialize in bronze versions of such works but both
3258
statuettes and small busts in this medium were exhibited by
3259
him at the Royal Academy from 1812 onwards. Whether he
3260
was rcsponsiblc for the casting himself is not known, but hc
3261
had long been interested in editing his work in plaster and
3262
had been very active in petitioning Parliament for a Bin to
3263
secure copyright in sculpture (the Act passed in 1798-38
3264
Geo.Ill, c. 71). This bronze must date from after 1800 in
3265
which year he was elcctcd an Associate of the Royal Academy.
3266
BRITISH SCULPTURES, BY ARTIST'S NAME
3267
Unknown foundry
3268
After Sir Alfred GILBERT ( 1854-1934)
3269
@@PROCESS
3270
497. Perseus arning
3271
36.4 cms. (height, including integral bronze base); 3 cms. (height
3272
of integral bronze base); 11.6 cms. (diameter of bronze base)
3273
Bronze with a dark green to black patina. Hollow, sand-cast, in
3274
pieces. The arms have been separately cast but the joins arc hard to
3275
perceive. The figure is bolted to a separately cast circular bronze
3276
base. There is a paper label on the underside of the base inscribed
3277
`Brocklebank Bequcst' together with a small circular lead seal
3278
stamped with a pair of ampersands.
3279
Bequeathed by the Revd J. W. R Brocklebank in November 1926.
3280
Acquired by him before 23 Septcmbcr 1910. No. 22 in Andrew
3281
Shirley's receipt of January 1927 as `Perseus . . .13" '.
3282
The Pgrfc#J was modelled in 1880 by Gilbert in Rome
3283
apparently soon after hc had seen Cellini's cclcbratcd bronze
3284
of the same hero in Florence and was cast in the spring of
3285
1881 also in Rome. `As at that time my whole thoughts were
3286
of my artistic equipment for the future, I conceived the idea
3287
that Perseus bcforc becoming a hero was a mere mortal, and
3288
that hc had to look to his equipment', Gnbcrt recalled more
3289
than twenty years later. This account of his motivation,
3290
distorted by the preoccupation with his own genius which
3291
obsessed him as his artistic powers began to falter, has perhaps
3292
been treated with too much respect. Cellini's PGrJc#J may well
3293
have been his inspiration but the elegant tension of the figure
3294
recalls certain late sixtccnth-century bronzes such as the female
3295
Virtue floggivg Vice on the Borghese inkstand (scc No. 224)
3296
then attributed to Cellini.
3297
Gilbert's bronze was exhibited at the Grosvenor Gallery in
3298
1882 (no. 380) and again at the Paris Salon in the following
3299
year (no. 3700) and was enormously admired. It is not known
3300
when the figure began to be reproduced fiill-size (as here,
3301
No. 498), half-size (as in this case); and in miniature (as here,
3302
No. 499), with minor differences in the shape of the sword
3303
blade and in the character of sword belt, sword hilt, helmet
3304
wings, and foot wings. A cast was in the J. P. Heseltine
3305
Collection by 1887 when it was lent to Manchester City Art
3306
Gallery for exhibition, but the large editions are likely to
3307
belong to the last years of the ninctcenth century, or the first
3308
of the twentieth.
3309
This half-sized cast was the first which Brocklcbank
3310
acquired, and also much the finest, of the three hc cvcntually
3311
owned. It is identical with the version in the Fitzwilliam
3312
Museum which was exhibited at the Royal Academy
3313
cxhi+kjition .in \986-Alf red Gilbert: Sculptor and Goldsmith,
3314
no. 11-s a lost-wax cast. However, that version and this,
3315
hike the many others of this size that I have seen, have
3316
separately cast ams with joins (which can only be discerned
3317
on close examination) and these would bc surprising in a lost-wax
3318
cast at that date. Casts of the other sizes arc generally
3319
more obviously sand-casts, although some of the fiill-size
3320
bronzes such as the origival cxhibitcd version, no doubt
3321
Heseltine's, and the one from a private collection which was
3322
no. 10 in the Academy exhibition, arc cxccptions. The letters
3323
from Gilbert to Brocklebank in the Dcpartmcnt's archive
3324
reveal how preoccupied the sculptor was by what he claimed
3325
were pirated versions of the bronze.
3326
On 23 September 1910 in a letter mostly concerned with
3327
his group of Sf Gco#gc co7¢d#cfgd ky V¢.cfory (No. 512) Gilbert
3328
responded with suspicion to the news that his admirer had a
3329
cast of the PGrtc#f.
3330
I must tell you that if your Pcrseus is signed in Roman capitals thus
3331
ALFRED GILBERT the signature is none of my doing. I have seen a
3332
similar figure in the Kensington Museum and I have repudiated it
3333
publicly in 77/c TG.ovcj. I an taking steps to trace the author of this
3334
forgery of my name, and I am in a fair way to bring hin to book.-
3335
I do not contend that the works arc not from my model, but they
3336
are inferior productions, and feloniously signed.
3337
He also exprcsscd furious indignation concerning the version
3338
in the South Kensington Museum in another letter of I
3339
December-`I never signed that figure in an ostensible way
3340
. . . I am repudiating this spurious, or rather pirated
3341
production.' The version in the `Kensington Museum' is a
3342
half-size cast (36.5 cms. high) which is on display in the
3343
English primary gallcrics (Room 118) of the Victoria and
3344
Albert Museum. Its accession number is 1050-1904 and the
3345
Museum's records reveal that it was purchased for £68 7f.1d
3346
in 1904-asts of Tr¢gGdy ¢79d Coowcdy and of A#
3347
O#G7?.»gr fo HyowG„ were acquired at the same time. `A. Gilbert'
3348
is chiselled in the metal across the upper surface of the base
3349
beside the hero's right foot. Brocklebank evidently informed
3350
Gilbert that his version had no signature but did have a lead
3351
seal. Pacified, Gilbert, in a letter of 27 September 1910,
3352
replied, `As to the lead seal, if it is in facsimile with either of
3353
these impressions you must be satisfied and so must 1', and
3354
hc enclosed diagrams with one of which the ampersands on
3355
the seal on this bronze do indeed correspond.
3356
Some commentary on this correspondence is rcquircd. As
3357
is also clear from his references in the same letters to the
3358
V¢.cfory (No. 502), Gilbert was understandably upset by the
3359
profits being made, whilst he himself was in grave financial
3360
difficulties, by Bond Street dealers and the bronze foundries.
3361
However, if he consented, howcvcr reluctantly, to large
3362
editions being made, as it seems likely that he did, it would
3363
not be surprising if some of the founders or dealers had his
3364
name added cspccially after his `exile' in Brussels. `Signaturcs'
3365
cut in the metal after casting were not usually the
3366
responsibility of the artist whose name was involved (which is
3367
why the term is misleading and avoided in this catalogue). It
3368
must all the same have been infuriating for artists to see their
3369
names used in this manner without their consent. Gilbert
3370
certainly was infuriated and the manner in which he jumped
3371
to the wrong conclusion concerning Brocklcbank's bronze
3372
must suggest that he was not entirely reliable in his accusations.
3373
The `inferior' production in the Victoria and Albert Museum
3374
turns out not to be an aftcrcast as one might suppose or even
71
3376
BRITISH SCULPTURES, BY ARTIST'S NAME
3377
a poorly finished cast but to be ridentical in quality to the
3378
authorized version in Brocklebank's collection. Other casts of
3379
Gilbert's work will be found to have the signature that so
3380
maddcncd hint-A" O#c7¢.79g fo HyowG» with the Fine Art
3381
Society, Bond Street, in February 1987 is an example-nd
3382
they are not works of inferior quality.
3383
72
3384
Unknown foundry, probably British
3385
After Sir Alfred GILBERT ( 1854-1934)
3386
@@PROCESS
3387
498. Perseus arming
3388
72.8 cms. (height including integral bronze base); 6.5 cms.
3389
(height of bronze base)
3390
Bronze with a chestnut patina, darker in the hollows. Hollow, sand-cast
3391
in pieces. Each leg and arm has been separately cast; the sword
3392
strap also fashioned separately.
3393
Bequeathed by the Revd J. W. R Brocklebank in November 1926.
3394
No. 12 in Andrew Shirley's receipt of January 1927 as `Pcrseus . . .
3395
25" revolving on marble ptinth'.
3396
One of thrcc versions of this figure from Brocklebank's
3397
collection. See No. 497.
3398
BRITISH SCULPTURES, BY ARTIST'S NAME
3399
BRITISH SCULPTURES, BY ARTIST'S NAME
3400
BRITISH SCULPTURES, BY ARTIST'S NAME
3401
Unknown foundry, probably British
3402
After Sir Alfred GILBERT ( 1854~1934)
3403
@@PROCESS
3404
499. Perseus arming
3405
14.5 cms. (height including integral socle); I.5 cms. (height of
3406
integral soclc); 5 cms. (diamctcr of base of integral socle);
3407
5.8 cms. (height of wooden pedestal); 7.8 cms. (diameter of base
3408
of wooden pedestal)
3409
Bronze with a warm chestnut patina. Hollow, sand-cast in pieces.
3410
Each arm is separately cast. The figure is fitted to a separately cast
3411
bronze socle and bolted to an ebonizcd wooden pedestal in the form
3412
of a truncated column on an octagonal plinth.
3413
Bequeathed by the Revd J. W. R. Brocklebank in November 1926.
3414
No.18 in Andrew Shirley's receipt of January 1927 as `Perseus . . .
3415
6" on ebonised plinth'.
3416
One of three versions of this figure from Brocklebank's
3417
collection. See No. 497.
3418
74
3419
Perhaps foundry of the Compagnic des Bronzes, Brussels
3420
After Sir Alfred GILBERT (1854-1934)
3421
@@PROCESS
3422
500. Icarus
3423
51 cms. (height including wooden base in which integral bronze
3424
base is sunk); 2.8 cms. (height of wooden base); 17.2 cms.
3425
(dianetcr of wooden base )
3426
Bronze with a deep chestnut patina slightly green in parts. Hollow
3427
cast in pieces. A join is just visible on the hero's right arm, above
3428
the strap, also, under magnification, on the other arm. A space under
3429
the hero's left foot is visible under magnification. This suggests that
3430
the base and arms were cast separately. A typewritten paper label
3431
pasted to the wooden base reads `Constantine lonidcs Collection'.
3432
Bequcathcd by the Revd J. W. R Brocklebank in November 1926.
3433
Acquired by him after I January 1911 (when not listed in a letter
3434
bythesculptortoBrocklebankconccmingtheworksofhiswhich
3435
were in the latter's possession) and probably after 1913 (since it is
3436
unmentioned in the letters of 1911,1912, and 1913 by Gilbert to
3437
Brocklebank). Apparently acquired by Brocklebank from the
3438
collection of Constantinc lonides ( see label described above) whose
3439
collection was formed in ljondon in the 1880s and 1890s. No. 29
3440
3eggeresTans±:I:y:trhec;:tgos;:eTd:,T8;,9£7£s,.Astatuettcst
3441
I"% was commissioned in Perugia in the summer of 1882
3442
for £100 after the success of the PGzfG%J (Nos. 497-9) by
3443
Gilber['s keen admirer, the President of the Royal Academy,
3444
Ijord Leighton, who was then involved in making sculpture
3445
of his own (Nos. 532-3). The subject was left to the artist
3446
who thought first of Leighton's `penchant for classical
3447
subjects; it must bc something classical and appropriate for
3448
bronze . . . It flashed across me', Gilbert rccallcd, `that I was
3449
very ambitious: why not "Icarus" with his desire for flight'
3450
(I. MCAllister, A//#Gd G;/de# (Ijondon, 1929), 62). The
3451
origival bronze, modelled in Italy in 1883 and 1884 and
3452
incised `Rome 1884', is 106.7 cms. in height (the National
3453
Museum of wales, Cardiff) and was exhibited at the Royal
3454
Academy in 1884 (as no. 1855) to great acclaim. No figure
3455
made by a British sculptor before Gilbcrt's PG7fG%f possessed
3456
a comparable fomal or psycholoScal fascination: its sinuous
3457
line and tense grace are suggestive of complex thoughts and
3458
feelings in precarious balance. And the surface of the origival
3459
bronzcpossessesanervousvitalityunprecedentedinanywork
3460
cast in this country.
3461
The origival Jc¢owf was cast under Gilbert's own direction
3462
at the foundy of Sabatino de Angclis in Naples. It is unique
3463
and there is some reason to suppose that it was cast by the
3464
`direct mcthod' (the wax modelled over a prepared core)
3465
rather than by the usual indirect method of making the wax
3466
model from a mould of the oriSnal clay (or more hkcly from
3467
a mould of a plaster cast made from a mould of the origival
3468
clay)-see Duncan James, `Alfred Gilbert and the Use of
3469
Nineteenth-Century Founding Techniques' , in R. Dorment, -irlf red Gilliert: Sc;lptor ?nd qo.Idspeith (:Poryal r±_&_d=T!.:.
3470
Ijondon,1986), 234. Certainly the casting of the Jc¢y%f was
3471
regardedasquitcdistinctfromthatofGilbert'searlicrPGrfG%J.
3472
(The P„„ap however, contrary to the assumptions made in
3473
all recent literature, may never have been cast by the lost-wax
3474
process, even by the indirect method-see No. 497. )
3475
The de Angelis foundry, which specialized in high quality
3476
reproductions of the antiquities in the Archaeoloalcal
3477
Museum, Naples (scc No. 5), seems, together with the
3478
foundry established by Vincenzo Gemito (discussed below),
3479
to have made Naples in the carly l880s one of the three chief
3480
European ccntrcs for casting by the lost-wax method, the
3481
other acclaimed foundries for this process being those of the
3482
Gonon finily in Paris (for which see No. 251 ) and of the
3483
Compagnic dcs Bronzes in Brussels. Publicity for the latter
3484
foundry had been provided, shortly before Jc¢rar was
3485
exhibited, by Gilbert's employer, teacher, and admirer Edgar
3486
Bochm, whose statuette of the famous race-horse Crceeo7'i7?c
3487
was exhibited at the Grosvenor Gallery in 1883 with a special
3488
note that it `has been cast at Brussels in the ancient "cire
3489
pcrduc" process, and is cast in one piece' (M. Stocker, Ray#/¢.¢
3490
and Realist: The Life and Word Of Sir Jose2h Edgar Bochm
3491
(New York and I.ondon, 1988), 307-8 and nos. 3334).
3492
CrGaco7'7cc had been commissioned by Sir John Savilc Lumley
3493
(later I.ord Savile), the British consul in Belgum, whose
3494
interest in lost-wax casting prompted him to compile a report
3495
on the process for the Board of Trade (a copy, from the
3496
collection of C. D. E. Fortnum, is in the Ashmolean Library)
3497
which was published in modified form in the 47:c4¢.£#£, 31
3498
(1884),130-I and 140-1,
3499
During the late l880s and early l890s, the practice of lost-wax
3500
casting became far more common both in England and
3501
France. In England in 1888 J. W. Singer and Son built a new
3502
foundry at Fromc under Herbert Singer's direction which
3503
was suited to this method. It was introduced at the Thames
3504
Ditton foundry of Cox and Sons under the direction of James
3505
Moore shortly after 1890 (S. Beattie, T77c Ncil7 Sc„/Pf#rt7
3506
(I.ondon and New Haven, Conn.,1983),188 and 191). A
3507
Roman, Alessandro Parlanti, established a foundry in Parson's
3508
Grccn, Fulham, in the same years and Gilbert was closely
3509
associated with him although he also gave work to the
3510
Compagrie des Bronzes which was certainly his principal
3511
foundry after 1900. Either of these two latter foundries could
3512
have been responsible for the small edition of reductions of
3513
the origival Jc¢7.#f of which the Ashmolean's bronze is an
3514
example, but it is not likely that thcsc were lost-wax casts.
3515
On close investigation they are seen to have been composed
3516
of separately cast units which suggests the sand-cast process
3517
in which the Compagnie des Bronzes also excelled.
3518
According to the rccollcctions of w. Goscombc John not
3519
more than a dozen casts of the Jc¢7.#f in this size were made
3520
before the moulds were broken and Dormcnt (Royal Academy
3521
catalogue cited above, pp.Ilo-12) observes that it seems
3522
likely that they were all made before 1900. Two other casts
3523
from this edition are known, both of which wcrc included in
3524
the Royal Academy exhibition of 1986: a silvered version
3525
belongivg to the Fine Art Society and a version, identical in
3526
patina to the Ashmolcan's, belonSng to the Tate Gallery. The
3527
latter is incised in the back of the base with the artist's initials
3528
Within a circle and, unlike the Ashmolean and Fine Art Society
3529
casts, the forked tongue of the serpent attacking the bird on
3530
the base has not been broken off.
3531
The character of the naturalistic base with the bird and
3532
snake in the origival bronze is far more complex than in the
3533
reductions. It must represent, as has often been observed, a
3534
response to the French `animalicr' bronzes in the manner of
3535
Barye, but, more specifically, it is surely an exercise in the
3536
subject-matter with which Gonon had demonstrated his
3537
virtuosity in lost-wax casting (see No. 251 ): the textures of
3538
snake-skin and feathers and the fraSlity of serpent tongues
3539
and bird's legs represented an obvious challenge. Gilbert was
3540
intensely interested in ¢„¢.owe/¢.cr sculpture when in Paris in
3541
1878. Hc made many studies at the zoo all of which wcrc
3542
destroyed (MCAllister, op. cit., 49). If Gonon was important
3543
for Gilbert, so too, as seems not to have been previously
3544
pointed out, was Vincenzo Gemito by whose work no artist
3545
visiting Naples in the early l880s, least of all a sculptor
3546
especially interested in bronze casting, could fan to bc
3547
attracted. Gemito's own foundry, projected by the Belgian
3548
entrepreneur Baron Oscar de Mesnil in 1875, commenced
3549
production in 1883, the year in which Gilbert first had his
3550
bronzes cast in Naples. Contemporary with the Jc¢7'i¢¢J arc
3551
two heads made by Gilbert as experiments in lost-wax casting:
3552
the HG¢d a/¢gG.71/ (National Museum of wales, Cardiff),
3553
modelled in 1882, cast in 1883 and exhibited in that year at
3554
the Royal Academy (no. 1600, `Study of a Head'), and the
3555
He¢d a/a C¢Pr¢./f47cr7ce¢7?, modelled 1883 and exhibited in
3556
1884 with Jc¢r#f at the Royal Academy (no. 1699, `Study'),
3557
of which a later casting is in the National Gallery of victoria,
3558
Mclboumc (Royal Academy exhibition cited above, nos. 12
3559
and 14, pp.108-9). The second of these heads is very close
3560
to the bust of an old man made by Gcmito in the same
3561
period: in both every minute wrinkle of the skin is perfectly
3562
recorded (a cast of this bust was formerly on loan to the
3563
Cleveland Museum of Art,1174.78, and another was
3564
exhibited with the David Daniels Collection, Minneapolis
3565
Institute of Art, 1979-80). The subtle textures and colouring
3566
(especially the traces of gold in the hair) in Gilbert's Head a/
3567
¢g¢.71/ recall such outstanding works by Gcmito as his
3568
P¢¢./ofoj)der'f ¢c¢d of 1883 ( Cleveland Museum of Art, 79.42)
3569
and the beautiful but plebeian character of the model (the
3570
`Srl' was the Roman nurse of Gilbert's child) is reminiscent
3571
of Gemito's use of urchins in his earliest and most famous
3572
works.
75
3574
BRITISH SCULPTURES, BY ARTIST'S NAME
3575
BRITISH SCULPTURES, BY ARTIST'S NAME
3576
Perhaps foundry of Compagnie des Bronzes, Brussels
3577
After Sir Alfred GILBERT ( 1854-1934)
3578
@@PROCESS
3579
501. An Offering to Hymen
3580
29.55 cms. (height of bronze including base); I.45 cms. (height
3581
of lapis plinth); 7 cms. (diameter of lapis plinth)
3582
Bronze with a dark slightly green brown patina, worn, where handled
3583
around thighs and also at tip of nose, to a chestnut natural patina.
3584
The hapy base is of slightly darker brown patina. Hollow, probably
3585
lost-wax, cast. The small figure of Anteros, together with the sprig
3586
of rosemary, have been fashioned separately and soldered in place,
3587
The hapy base was probably cast separately. Figure and base arc
3588
bolted to a plinth of lapis lazuli.
3589
Bequeathed by the Rcvd J. W. R Brocklebank in November 1926.
3590
Acquired before 28 June 1910. No. 21 in Andrew Shirley's receipt
3591
of January 1927 as `A statuette, Nude Female standing holding an
3592
effigy of an Angel' .
3593
Gilbert exhibited a large bronze version of this subject at the
3594
Grosvcnor Gallery in 1886, having modelled the figure,
3595
perhaps in the previous year, apparently emplo)ing Miss
3596
Pcttigrcw as his model. He might have had the idea a few
3597
years earlier in Rome; in any case, he seems to have `conccived
3598
of it as the third statue in the progression from Perscus to
3599
Icanis of adolcsccnts facing the passage from youth to
3600
maturity', as RIchard Dorment observes in his catalogue entry
3601
for the recently rediscovered bronze of 1886 in A//cd G¢./de7¢..
3602
Sc#/pfoy ¢„d Go/drow¢.£¢ (Royal Academy, London, 1986)
3603
(no.18, pp.112~14). On the other hand, the stiff pose, the
3604
attributes, and the base reflect a reaction away from his earlier
3605
cxcrciscs in complex torsion, a deeper interest in the hicratic
3606
and symbolic (as distinct from allegorical narrative), and a
3607
novel fascination with grotesque `cinqueccnto' ornament,
3608
soon to develop into an obsession. It is not known when
3609
small casts such as that in the Ashmolean were first made but
3610
it was probably during the first decade of the twentieth century.
3611
In these small versions the figure (which is conceived of as
3612
standing before the altar of the god of marriage) is given a
3613
variety of votive offerings sometimes in silver, sometimes in
3614
copper. These include a chalice, a rose, a putto with an inverted
3615
torch, a sprig of rosemary (as here), and a figure of Antcros
3616
(as here). The A7¢fg7iof is a reduction of a figure, derived from
3617
the Jc¢7#f (see No. 500), which Gilbert made in 1893. The
3618
small O#G"."g fo H)iowe" in the City Art Gallery, Manchester
3619
(no. 19 in the Royal Academy exhibition) is documented as
3620
bought from Messrs Brown and Phillips in 1912. The version
3621
in the Victoria and Albert (79-1904) was acquired in 1904.
3622
The Ashmolean's version was acquired before 28 June 1910.
3623
Gilbert, writing to Brocklcbank from Faulconer's Hotel,
3624
I.ondon, on that date in a letter mostly about a S£ Gco%ge
3625
(see No. 506), commented, `1 an sorry you have bought the
3626
sman "Offering to Hymen", for I fear you have paid an
3627
excessive price for it while I might have found you an example
3628
taken direct from my origival model, and chased by myself,
3629
at a modcratc price'. This would suggest that it was a recent
3630
Purchase by Brocklebank, also that quite a few casts were
3631
then available on the art market. It might be taken-indccd
3632
was meant to be taken-as an allegation that some of these
3633
were of inferior quality, and that Gilbert had a few specially
3634
finished examples, but it was in the sculptor's interests to sell
3635
direct to Brocklebank and he was also prey to anxieties
3636
concerning the sale of his bronzes in `Bond Strect' (scc No.
3637
@@PROCESS
3638
497) which may not have been based on a just perception of
3639
lower standards but motivated by rescntmcnt at the profits in
which he had no share.
3641
BRITISH SCULPTURES, BY ARTIST'S NAME
3642
Perhaps foundry of Compagnie des Bronzcs, Brussels
3643
After Sir Alfred GILBERT ( 1854-1934)
3644
5o2. Victory
3645
48.5 cms. (height including entire base and uppermost frond of
3646
palm); 21.5 cms. (height of figure from big toe to crown of
3647
head); 10.2 cms. (height of base); 12.9cms. (diameter of base)
3648
Bronze with a slightly green-black patina worn to chestnut in some
3649
salient folds of drapery. Hollow, probably lost-wax, cast. The raised
3650
right am and most of the trumpet are both cast separately (the joins
3651
are hardly visible) and the palm (of copper?) is fashioned separately.
3652
There is a small hole in the drapery between the feet. The figure is
3653
mounted on a ball of dark brown and white (? AIgcrian) onyx and
3654
a base of ebohized wood consisting of a turned and waisted soclc
3655
on an octagonal plinth.
3656
Bequeathed by the Rcvd J. W. R Brocklebank in November 1926.
3657
Bought by him before 22 July 1910 `in Bond St.'. No. 28 in Andrew
3658
Shirley's receipt of January 1927 as `Victory'.
3659
Gilbert's great Jubilee monument to Queen Victoria,
3660
presented to the City of winchester by William Ingham
3661
Bywater, High Sheriff of Hampshirc, was exhibited as a
3662
bronzed plaster at Winchester on 17 August 1887 and then
3663
shown again at the Royal Academy Exhibition in 1888. The
3664
figure of victory crowning the orb was perhaps the most
3665
notable of the many inventive accessories and details with
3666
which the figure and throne bristlcd. The Victory on the
3667
origival bronze was wrenched from the queen's grasp by a
3668
vandal and has not been replaced, but Gilbert had others cast
3669
as independent works of art, exhibiting a statuette in silver at
3670
the Royal Academy exhibition in 1891 (no. 2069). It is not
3671
certain when the bronze statuettes were first edited, but
3672
perhaps not until more than a decade after this. The version
3673
in the Victoria and Albert Museum ( 1050-1905), which is
3674
identical with the Ashmolean's, was acquired in 1905. In
3675
1903 Gnbcrt was to)ing with the idea of making a large
3676
version of the figure to serve as a Boer War memorial. In
3677
reading Gflbert's correspondence with Brocklcbank on this
3678
subject it is important to bear in mind that Brocklebank
3679
eventually owned two versions of the statuette, the other
3680
version being smaller and Slded. The Ashmolean's bronze
3681
was exhibited at the Royal Academy exhibition 4//#G¢ G£./4G7¢..
3682
Sc#/p}or a"d Go/drow¢.£¢ ( 1986) as no. 34 with the incorrect
3683
infomation that it was purchased from the artist in 1911 and
3684
can therefore be dated to 1910. It seems in fact to have been
3685
purchased in 1910.
3686
On 20 January 1910 Gilbert informed Brocklebank that he
3687
was able to let him have a VG.cfo7)+`not the small one you
3688
saw here but the origival size'. In his next letter of 30 January
3689
hc wrote,
3690
I an grateful to you for your attitude towards the pirated copies of
3691
my work. I hope when you see the example of the original size
3692
which I hope to send ere long together with the St. George that
3693
you will not regret your decision-meanwhile you will be doing me
3694
a great favour if you will let it be well and generally known that these
3695
Bond Street reproductions arc none other than pirated copies of
3696
my work.
3697
78
3698
The next reference to a V¢.cfory comes in a letter of 28 June
3699
1910: `1 have also a small "Victory" equally well produced,
3700
which I will send with the other figure, of course-nly for
3701
your approval. ' Meanwhile, however, Brocklebank had
3702
acquired a VG.cfory elsewhcrc. On 22 July Gilbert wrote: `In
3703
your last letter I understood you to say that you had already
3704
bought a small "Victory" in Bond Street so I put aside the
3705
one I intended for you, as no longer required.' On 28 July
3706
he pressed Brocklcbank for an explanation: `With regard to
3707
my mention of a Victory in my letter. I am awaiting your
3708
reply so that I may well understand your allusion to the said
3709
"Victory", after what I understood you to say as to your
3710
purchase of an example in Bond Street.' On 22 September hc
3711
wrote, `1 cannot say that I am much amused, though
3712
particularly interested, at the news you give me, that you have
3713
received a copy of my small Victory. I am rather saddened,
3714
at the thought, that while I am struggling to live by my work,
3715
others should be living upon the fruits of my labour.'
3716
However, Brocklebank seems to have disarmed Gilbert with
3717
praise for the work and a rcqucst for advice over cleaning
3718
and polishing it, and Gilbert rcphed on 27 September 1910,
3719
As to the little Victory (like all triumphs) it only wants nursing and
3720
caressing with a silk handkerchief, or something soft, from time to
3721
time. A little bees wax-in place of butter or oilngcntly rubbed on
3722
will keep the colour for a very long time, and the Victory will shine
3723
on all its contours, as though clad in light.
3724
On New Year's Day 1911 Gilbert responded to a letter
3725
expressing gcncral thanks and gratitude,
3726
You say that of the four statuettes you have of mine the one most
3727
admired is `Victory'. You are not aware possibly that [its?] apparent
3728
joyousness, is due to the fact that it was conceived and executed
3729
during the very few hours of happiness, I have known, in a now,
3730
almost long, and eventful life. Even the original, brought mc sorrow.
3731
I am afroid that my whole being has leant to be philosophical rather
3732
than sanguine, as it was once. I lived then to work, now I work to
3733
live for a pittance.
3734
It is unlikely that the little V¢.cfory acquired in Bond Street
3735
is to be identified as the gilded version now lost (No. 503):
3736
above au, the application of wax would bc more appropriate
3737
for an unSlded patina. It is odd that Gilbert docs not refer
3738
to two versions in his letter of 1911. It seems likely au the
3739
same that the Slded version was acquired at the same time
3740
and Gilbert's letters imply that the model was available in two
3741
sizes.
3742
BRITISH SCULPTURES, BY ARTIST'S NAME
3743
BRITISH SCULPTURES, BY ARTIST'S NAME
3744
BRITISH SCULPTURES, BY ARTIST'S NAME
3745
80
3746
Unknown foundry
3747
After Sir Alfred GILBERT ( 1854-1934)
3748
@@PROCESS
3749
503. Victory (untraced)
3750
Said to have been 9" high.
3751
Metal, probably bronze, `heavily-dlt'.
3752
BequeathedbytheRevdJ.W.RBrocklebankinNovembcr1926.
3753
Probably acquired by him in 1910 or 1911. No.19 on Andrew
3754
Shirley's receipt of 1927 as `A statuette (gilt) Victory standing on a
3755
sphere,.
3756
ThiswaspresunablyaversionofthcVjcforyalsorepresented
3757
in Brocklebank's collection in unorded form. For the
3758
probable purchase of this bronze from Gilbert in 1910 or
3759
1911 see No. 511. The date when it was lost is unknown,
3760
but it may be safely asserted that it would have been most
3761
unlikely to have gone astray under the scrupulous
3762
housekeeping of C. F. Ben (Keeper 1908-31). A handwritten
3763
note by Ion ljowe in one of the bronze stores dated 29
3764
Januay 1968 records that the heavily gilt variant of Vjc}ory
3765
was not `seen'-i.e. was not found-when Charles Handlcy
3766
Read `carne to see the bronzes'.
3767
Probably foundry of Compagnie des Bronzes, Brussels
3768
After Sir Alfred GILBERT ( 1854-1934)
3769
@@PROCESS
3770
504. Literature (Wisdom)
3771
22.7 cms. (height of figure); 3.25 cms. (height of bronze base);
3772
10.5 cms. (dia.meter of base)
3773
Bronze with a very dark green and grey patina won on some edges
3774
of drapery to the yellow metal. Hollow, probably lost-wax, cast in
3775
pieces. The scroll with the hands was cast separately, as was the base.
3776
Some white plaster remains under the upper fold of the scroll.
3777
Inscribed on a paper label under the base in the sculptor's hand are
3778
the words: `REPLICA OF STAT ON THRONE OF / Q. VICTORIA
3779
MEMORIAL AT WINCHESTER / A GILBERT' .
3780
Bequeathed by the Revd J. W. R. Brocklebank in November 1926.
3781
Probably acquired by him after 1912. No. 20 in Andrew Shirley's
3782
rcccipt of January 1927 as `a statuette, Literature, holding a scroll
3783
offame'.
3784
The figure is one of the Virtues modelled in 1887 and
3785
exhibited in Winchcster on 17 August that year as a pan of
3786
the throne of the Jubilee memorial for Queen Victoria (see
3787
also no. 502). It is placed on the rear of the throne at top
3788
left (see the illustration in M. H. Spielmann, Br¢.f¢.j4 Sc#/Pf#re
3789
fli»d Sc#/pforf a/ rodry ( I.ondon, 1901 ), 82). Having made all
3790
his earliest figure sculpture (PcrJc#J, Jc¢7':#f, and A» O#Gr¢.cog
3791
fo HyowG") nude Gilbert became fascinated by heavy drapery
3792
and by armour in the later l880s. This figure was anticipated
3793
by the similarly waxy and voluminous drapery and scroll of the
3794
personification of Zeal in the memorial to Henry Fawcctt of
3795
1885-7 crcctcd in Westminster Abbey where his first armour-clad
3796
figure, Fortitude, also features.
3797
L¢.£G7¢f#rc was cast as a separate statuette by the Compagnie
3798
des Bronzes, Brussels, in 1910, but some casts seem to have
3799
been available earlier and some of these might even have been
3800
cast at the same time as the original. Richard Dorment quotes
3801
an entry in the diary of George Gilbert on 23 June 1906
3802
concerning a cast with the dealer Horace Littlcjohn of the
3803
John Baillie Gallery, 54 Baker Strcct, Ijondon (see 4//rgd
3804
Gilbert: Sculptor and Goldsmith (Ftoryal Alcaideny , hondon,
3805
1986), no. 35, p.130). The casts are rare and no other
3806
versions are known to me (excepting that on the throne
3807
itself). There is no reference to L¢.£Gr#£„rg in Gflbcrt's letters
3808
to Brocklebank during the period 1910-12 and it is likely to
3809
have been acquired after the latter year.
81
3811
BRITISH SCULPTURES, BY ARTIST'S NAME
3812
BRITISH SCULPTURES, BY ARTIST'S NAME
3813
Perhaps foundry of Compagnie des Bronzes, Brussels
3814
After Sir Alfrcd GILBERT ( 1854-1934)
3815
@@PROCESS
3816
505. Comedy and Tragedy
3817
(`Sic vitae')
3818
66.6 cms. (height of bronze); 6.3 cms. (height of base); 15 cms.
3819
(diameter of base )
3820
Bronze with a dark green and brown patina, worn to golden brown
3821
in salient areas of hair and hat. Hollow, probably sand-cast, in
3822
pieces. Both arms and the mask were apparently cast together as one
3823
separate piece, the joins in both biceps being evident; the figure's
3824
right leg is also separately cast but almost invisibly joined. The figure
3825
is bolted to its orictnal spinachy serpentine base consisting of a
3826
turned, waistcd, soclc set on an octagonal plinth also of serpentine.
3827
This base is cracked but was mended August 1988 when the
3828
sculpture was also mounted on a spiral column of pc7itzc dG. P#¢£o,
3829
presumably Italian and of c.1880.
3830
Bequeathed by the Revd J. W. R. Brocklcbank in November 1926.
3831
No. 8 in Andrew Shirley's receipt of January 1927: `A statuette
3832
male figure symbolising Tragedy'. Ijong kept in Museum store;
3833
placed on display in the redecorated Combe Gallery in August 1988.
3834
The figure depicts the prop boy in the classical theatre stung
3835
by a bee as he hastens to the stage with a comic mask. The
3836
title comes from W. S. Gilbcrt's popular one-act play. The
3837
model was Angelo Colorossi (who is also immortalized in
3838
Gilbcrt's EroJ). A letter cited by Richard Dormcnt in the
3839
catalogue of the Royal Academy exhibition A//7.cd G¢./der£..
3840
Sculptor and Goldsmith Of \986 (no. 22, p. \\7) reveals that
3841
-rf u*` -.._-i
3842
i-==--.-.
3843
work on the figure began on 2 February 1891. It was exhibited
3844
as a polychromed plaster at the Royal Academy in 1892 (as
3845
no. 2004), and, probably soon afterwards, was cast in bronze.
3846
The oridnal size (presumably corresponding with the
3847
exhibited plaster) is that of the version in the Ashmolean, of
3848
which many examples exist (among them examples in the
3849
following public couections: National Gallery of scotland,
3850
no. 2287-xhibited in the exhibition cited above; Leeds City
3851
Art Gallery; Nottingham City Art Gallery). Still more
3852
common arc half-size versions many of which include the bee
3853
(or included it-a hole often remains). These were made by
3854
the Compagnie des Bronzes in Brussels in the first decade of
3855
the twentieth century-at least that in the National Gallery
3856
of Art in Washington ( 1984.67. I ) is documcntcd as made
3857
there in 1905. The Victoria and Albcrt Museum acquired its
3858
small bronze of this size in 1904 (78-1904). Comparison of
3859
these two however immediately reveals a problem for the
3860
Washington bronze is a lost-wax cast, apparently in one piece,
3861
with a vibrant surface, whereas the latter, and all others that
3862
I have examined with dealers and auctioneers (among these
3863
those sold Sotheby's, I.ondon, 23 June 1987, lot 83, and
3864
Sotheby's, I.ondon, 26 November 1986, lot 59), are made
3865
up of pieces, like the larger version catalogued here, and are
3866
sand-casts. The Washington cast also has a different form of
3867
small round integral bronze base, being higher and consisting
3868
of a shallow dome on spreading mouldings.
83
3870
BRITISH SCULPTURES, BY ARTIST'S NAME
3871
Foundry of the Compagnie des Bronzes, Brussels
3872
After Sir Alfred GILBERT ( 1854-1934)
3873
@@PROCESS
3874
506. St George
3875
47.5 cms. (height); 26 cms. (width of base)
3876
Bronze with a dull black patina worn to chestnut in some salient
3877
parts. Hollow, sand-cast, in sixteen pieces: helmet, head, shoulder
3878
greaves (2), arms (2), hands (2), torso, legs (2), thigh protectors
3879
(2), knee protectors (2), base. The shoulder armour to the figure's
3880
right is loose.
3881
Bequeathed by the Revd J. W. R. Brocklcbank in 1927. No. 14 in
3882
Andrew Shirley's receipt of January 1927: `St. George, standing
3883
holding sword with crucifix'. Purchased by Brocklebank from Gilbert
3884
in 1910 (see below).
3885
The figure was invented by Gilbert as one of the saints for
3886
the niches of the grille for the tomb-chest supporting the
3887
effigy of the duke of clarence in the chapel of windsor Castle.
3888
The duke, who was the first son of the prince of wales, died
3889
on 14 January 1892; the commission was given to Gilbert at
3890
Sandringham by the prince on 23-5 January and the first
3891
model approved by him in Ijondon before the end of the
3892
month. The larger model which was completed for the Royal
3893
Academy exhibition in 1894 was far more elaborate and
3894
included the grille which Gilbert seems to have scttlcd on
3895
early in 1893. Work on the tomb contributed to Gilbcrt's
3896
banluniptcy; his expedients to avoid this, together with his
3897
procrastination and obsessive elaboration on the tomb, led to
3898
a break with his royal patron and he did not return from exile
3899
in Brugcs to complete the work until bidden to do so by
3900
George V in 1926-the final figures wcrc in place in 1928.
3901
The first figure of Sf Gco#gc was cast by George Broad and
3902
Son in `white metal': the hands and head were of ivory, as
3903
was also the case with the effigy of the prince himself. The Sf
3904
GGo7igc was dclivercd to the prince and princess of wales at
3905
Sandringham on 10 November 1895 as a private domestic
3906
memorial to their son (it is now in St Mary Magdalene,
3907
Sandringham). This reveals that Gilbert, from the first,
3908
considered the figure acceptable as an independent sculpture,
3909
although the wide spreading base, in which the scaly skin and
3910
coils and claws of the dragon are involved, was devised for
3911
the special setting of the grille where the wings and draperies
3912
of attendant angels below and the crowning framework above
3913
continue its swirling foms. (The very earliest idea for the Sf
3914
Geokge, rcpresentcd by a drawing in body colours and gold
3915
leaf, does not have such a base.) The version for the tomb
3916
grille itself, also with ivory hands and head, the rest cast in
3917
aluminium, was set in place in Windsor in March 1898 (R.
3918
Dorrne". Alf red Gilbert: Sculpror and Goldsmith (Riayal
3919
Academy, Ijondon, 1986),154nd2).
3920
An interest in fancifully armoured figures, as also in
3921
voluminous draped figures, and in figures concealed by, and
3922
confused with, vegetation, which replaced Gilbert's early use
3923
of the nude, may all be traced to his work on the Fawcett
3924
memorial in Wcstminstcr Abbey, commissioned in April 1885
3925
and unveiled in January 1887 (ibid.124-5). The figure of a
3926
84
3927
knight representing Fortitude there was followed by the St.
3928
George on the Jubilcc Epergne, commissioned in 1887,
3929
completed in 1890, and by the knight in armour on the de
3930
Vesci seal, commissioned January 1891 and completed 1896
3931
(ibid., nos. 53 and 59, pp.144-5, 148-9). Whereas Ghbert
3932
had been fascinated by lost-wax casting he seems also to have
3933
been interested in the way that sand-casts of numerous picccs
3934
might be considered especiauy appropriate for a
3935
representation of a suit of armour which after all was itself a
3936
composite and jointed metal creation. The cast set up at
3937
Windsor in 1898 was probably made by the Compagrie des
3938
Bronzcs in Brussels. They were certainly responsible for two
3939
casts, with metal, rather than ivory, heads and hands, which
3940
Gilbert had made less than twelve months afterwards-nc
3941
of these (of aluminium, today in the Cecfl Higgivs Art Gallery,
3942
Bedford) was sent to Sir William Agnew on 8 February 1899,
3943
the other (of bronze, today in a private collection) was ready
3944
soon afterwards and sold to Robert Dunthome (ibid. 163-
3945
4, mos. 71, 72). The casting patterns used by the foundry to
3946
fom the sand moulds survive (ibid. 161, no. 68). How many
3947
subsequent versions in bronze were made is not certain but
3948
at least four seem to be recorded.
3949
Brocklebank called on Gilbert in Bruges on 9 December
3950
1909 but the sculptor was ill and unable to scc him.
3951
Brocklebank (together with his brother and sister-in-law who
3952
wcrc with hin) invited Gilbert to supper on 11 December
3953
and then again on 2 January 1910. In a letter to Brocklebank
3954
(by then at Fcify House, Warminster) on 16 January 1910
3955
Gilbert wrote that `sincc your visit I have put in hand the
3956
execution of the statucttc of st. George which you were good
3957
enough to commission, and I hope to be able to dclivcry it
3958
to you very shortly'. A new paragraph opened defensively:
3959
You appeared to think that the price I name,-£100-was
3960
excessive.-May I point out, that although it is in the main, a
3961
reproduction, it is really, other, for all the accessories, such as the
3962
sword, the base, ctcetera, demand special work, seeing that I have
3963
no models of these details, and must therefore remake them. Your
3964
version then will be unique, though in general features it will
3965
resemble the original. As to the St. Hubert with the Stag [a figure
3966
also planned for the tomb of the duke of Clarence] I should be glad
3967
of your decision. Its reproduction will bc formed by the same
3968
considerations,-both figures will be signed by me, with a special
3969
mark.
3970
This letter was certainly disingenuous. Comparison with the
3971
casts of 1899 and the existence of the casting patterns makes
3972
it clear that the extent of special work was exaggerated, and
3973
in the event it was only the sword which was specially
3974
modelled for Brocklebank's version.
3975
Gilbert's next letter to Brocklebank, addressed to Hinside,
3976
Warminster, was dated 20 January 1910. `Sincc you arc good
3977
enough to say that you arc likely to consider the purchase of
3978
another figure, if the first satisfies you, I accept your terms
3979
for the "St. George", though its sale at the price you offer
3980
[prcsumably something like £80] would but barely
3981
remuncratc me for all the extra work its preparation entails to
3982
BRITISH SCULPTURES, BY ARTIST'S NAME
85
3984
BRITISH SCULPTURES, BY ARTIST'S NAME
3985
make it unlike in detail its prcdeccssors, to say nothing of the
3986
actual cost of production, were I to give it you down. I feel
3987
quite confident of giving you satisfaction however through
3988
the St. George.-As to the ``St. Hubert" or the "Virgin"
3989
which you have mistaken for St. Clara, I could not possibly
3990
give you for the same sum, for the double reason, lst I am
3991
not free at present to reproduce them, and 2dly were I so,
3992
they each of them cost me more to produce [than the sum in
3993
question]. I can however let you have a "Victory"-not the
3994
small one you saw here but the original size, simultaneously
3995
with the "St. George".' His next letter of 30 January concerns
3996
the V¢.cfory (scc No. 502), but includes the following: `1 shall
3997
bc very delighted to make for you a companion figure to St.
3998
George, and if you win give me a subject I will endeavour to
3999
give it form . . . as to the new figure, if it is to remain
4000
absolutely a unique production I must ask you £200 or fl50
4001
if you give mc the right to make one copy.' On 28 June 1910
4002
Gilbert wrote from Faulkner's Hotel, Vflhers Street, I.ondon,
4003
where he had been attending to some `troublesome business'.
4004
He was grateful to Brocklebank for his `exceedingly kind
4005
letters' and proposed to send off the `most beautiful cast of
4006
the St. George' next wcck on his return to Brugcs. It seems
4007
that another warrior saint designed for the tomb of the duke
4008
of Clarence had been proposed as a companion by
4009
Brocklebank-the Sf A4:¢.choc/ (cast for Windsor in 1899)-
4010
but, Gilbert protested, `1 cannot repeat "St Michael" for I
4011
have no model existent, but I should be only too delighted
4012
to make you a new figure of the same subject, and I should
4013
prefer it to be #„¢.g#c'. Gilbert had in fact made a repetition
4014
of the Sf A4¢.c¢fl}c/ in 1900 for William Vivian as a companion
4015
for the bronze S£ GGo7igG which Gilbert had sold in 1899 to
4016
Dunthornc (Dorment, op. cit., no. 73, p.165) but the model
4017
may well have been destroyed in the late summer of 1901
4018
when the sculptor went bankrupt and, he claimed, smashed
4019
his models to save them from the bailiffs.
4020
The succeeding letters must have maddened Brocklcbank.
4021
On 22 July Gilbert conceded that more than thrcc weeks had
4022
passed and hc had not sent the S£ Gco7i2i7e but he found that
4023
it still needed work, although the casting was good. On 28
4024
July hc found that he needed `an extra day or two to revise
4025
some of the detail'. On 19 Septcmbcr he announced that he
4026
was `not satisfied with the casting', had had to work much
4027
upon it-`Another cause of delay is, that I have altered the
4028
sword, and substituted for it an object of quite a new
4029
treatment. To wit, a sword in emblem rather than a weapon
4030
in fact.' On I December he is nearly ready to send the cast:
4031
`The delay has been no fault of mine. I have been waiting for
4032
two months past, the casting of the final dctal [thc cross].-
4033
It has arrived tonight. Tomorrow, I sham fit it in its place, and
4034
pack and send off to you the figure.' On 9 December he
4035
cxplaincd that mness had kept him from personal
4036
supcrintendancc of the packing but it will leave here `on
4037
Monday night'. Gilbert realzed that this was the moment
4038
for some flattery and pathos.
4039
I have substituted, for the oriSnal sword, a Processional Cross,
4040
which I like better myself, as being richer, and to my thinking, more
4041
suitable.-I must leave you to judge of this for yourself. I can only
4042
add, that what I have done has been prompted by a desire to do
4043
86
4044
my best, and I hope you will realizc that the onginal price I asked
4045
you, was not excessive, in view of the result, which I assure you,
4046
has cost me as much personal work, as a new creation would have
4047
done. I never send anything out of my work shop, that has not had
4048
my personal attention and care. It is perhaps for that reason that I
4049
live as I do, in solitude, and from hand to mouth. But let all that
4050
pass.~I was very grateful to you for coming to me at all, at a
4051
moment when I thought nobody cared for me more, and I have
4052
endeavoured to prove my sentiment, through the work I am sending
4053
you.
4054
On 14 Dcccmbcr Gilbert was able to write that
4055
`St. George' left here last night, and I consigned it myself to the
4056
Railway agents. I could not do so on Monday because I was obliged
4057
to keep my bed, owing to a slight attack of Bronchitis.-I was
4058
unable to prepay the carriage because I could get no through rate
4059
to Warminster. The cast went straight to you by `Grande Vitesse'
4060
thoroughly well packed and covered with every direction requisite
4061
. . . I did not insure, for I have always found such a proceeding
4062
useless . . . I have not 6tamped the bronze with my `tradc mark'!
4063
for I could not find a single spot on the whole work, where such a
4064
Superimposition, would not have interfered with the work.-I think
4065
the best plan would be for me to give you a signed label which you
4066
can affix under the plinth. I enclose such a document.
4067
The document in question survives. Unfortunately owing to
4068
rough handling by the customs the bronze was broken-presumably
4069
in the processional cross. On 19 December Gilbert
4070
expressed his determination to mend this in the spring. Hc
4071
received a banker's draft on New Year's Day 1911. On 29
4072
June 1911 he explained that his visit to England has been
4073
delayed but he would `ccrtainly' come in the autumn. On 5
4074
September hc wrote that hc had to renounce for the present
4075
his intended visit. Brocklcbank no doubt got someone else to
4076
fix the processional cross (No. 507) but not very securely for
4077
it has long been detached. I.ooking at it with the Sf GGo7gigG it
4078
seems incredible that they were ever attached: not only is the
4079
cross compositionally ungainly but it is a lost-wax cast which
4080
exposes the dry and mechanical sand-cast finish of the Sf
4081
George.
4082
Foundry of the Compagnie des Bronzes, Brussels
4083
After Sir Alfred GILBERT ( 1854-1934)
4084
@@PROCESS
4085
507. Crucifix surrounded by
4086
chembim
4087
13.5 cms. (height); 9.5 cms. (width)
4088
Bronze with a dark chestnut patina worn to a pale tan in the more
4089
salient parts. I.ost-wax cast, hollowed behind. There is no evidence
4090
of chiselling of any kind.
4091
For provenance see No. 506 to which this was attached.
4092
Gilbert claimed that this bronze was invented as a processional
4093
cross for S£ GGo#gG to carry, in lieu of the sword with a crucifix
4094
on the hilt which he had earlier employed. It may, however,
4095
have originated as an independent work, perhaps intended
4096
for execution in silver. It certainly resembles another
4097
ostentatiously waxy sketch involving the indistinct cherubim
4098
and angels whose wings enveloped the dead or dying Christ
4099
like petals; this is the bronze C47?.j7 J#4Po7?Gd ky ¢»g£/J,
4100
12cms.high,inaprivatecollectioninNewYork(RDorment,
4101
qurefiGi[`b:r:,`Sculpt!r_?ndGoldsmith(Ttoryalircdsny,
4102
I.ondon,1986), no. loo, p.185) which is closely related to
4103
a plaster cast published in the E¢Jfgy A# 14###¢/ ( 1903: 18)
4104
and may bc identical with a `headpiece of a dead Christ
4105
supported by Angels . . . nearly complete in mctal' which
4106
Henry Ganz saw in Gilbert's Bruges studio in September
4107
1907.
4108
BRITISH SCULPTURES, BY ARTIST'S NAME
4109
BRITISH SCULPTURES, BY ARTIST'S NAME
4110
Foundry of Compagnie des Bronzcs, Brussels
4111
After Sir Alfred GILBERT ( 1854-1934)
4112
@@PROCESS
4113
508, 509, and 510. Truth (or
4114
Hope), Piety (or Faith), and Charity
4115
37.5 cms. (height of Tr#£¢); 37 cms. (height of PG.Gay); 36 cms.
4116
(height of Chor¢.ty); 8.6 cms. (diameter of integral bronze base
4117
of r7'i#£4); 8.5 cms. (diameter of integral bronze base of P¢.rty);
4118
8.7 cms. (diameter of integral bronze base of C4¢rG.ty)
4119
Bronze with a slightly brown green patina. Each figure is a hollow
4120
sand-cast of one piece with a prominent fin of `flashing' in the
4121
interior about half-way up. The plinths are integral, each is
4122
approximately circular in plan but cut off at the back. Originally
4123
mounted on wooden plinths ( untraced).
4124
Bequeathed by the Revd J. W. R Brocklebank in 1927. Probably
4125
acqulrcd by him after 1913, since they are not mentioned in Gilbert's
4126
letters to Brocklebank between 1910 and 1913. Nos. 23-5 on
4127
Andrew Shirley's receipt of January 1927 as `A set of 3 female
4128
figures symbolising Faith, Hope and Charity 18" high on wood
4129
plinths'.
4130
Gilbert received a commission for a memorial to the Rt. Hon.
4131
I.ord Arthur Russell ( 1825-92) to be erected in the mortuary
4132
chapel of the Bedford family in St Michacl's, Chcnies,
4133
Buckinghamshire, in 1892. He completed the work in 1900.
4134
The memorial takes the form of an elaborate candlestick about
4135
9 feet high, with four allegorical figures T7"£b, P¢.rty, C¢¢r¢.ty,
4136
and Co#r¢gG set about half-way up, above complex organic
4137
ornament incorporating enamelled panels. Gilbert quarclled
4138
with Alessandro Parlanti, the finest founder in I.ondon in
4139
these years, in November 1899 after he had delivered the
4140
C4¢rify, together with a duplicate cast, and the Co#r¢gG (R
4141
Dorment, A//rcd G¢./4c77 (New Haven, Conn., and Ijondon,
4142
1985), 193-7). The fact that a duplicate was cast of Cb¢rity
4143
reveals that Gilbert did not think of the figures as exclusively
4144
appropriate to the setting in Chenies; but there was no
4145
thought of an edition of any of the figures (which in any case
4146
would not have been popular with the Bcdford finily) until
4147
the sole right to reproduce casts of three of the allegorical
4148
figures (the three here-Co#r¢gG has a distinct character, as
4149
Dormcnt points out, and may well have been origivally
4150
conceived for a different purpose) was granted to the
4151
Compagnie des Bronzes who sold them through the Fine
4152
Art Society in Bond Street. How many were cast at this stage
4153
is not known but the bronzes are not very common. One set
4154
is in the City Art Gallery and Museum, Birmingham (P36-
4155
38.'64). Another set was lot 83 at Phillips, Ijondon, on 14
4156
April 1987 (illustrated in colour in the catalogue). They
4157
retained their wooden bases upon which the figures were
4158
identified as Hopc, F¢;£4, and Char;ty although we know that
4159
different identities were intcndcd for the oriSnal memorial.
4160
Another cast of the C4#rG.ty was lot 58 at Sotheby's, I.ondon,
4161
on 26 November 1986 but was incised across the back of the
4162
integral bronze base `Cast from Plaster/Alfred Gilbert'.
4163
The C4¢7dy from the Ashmolean's set when lent in 1986
4164
to the Royal Academy exhibition A//red GS./de7?.. Sc"/pfor ¢„d
4165
Go/drow¢.£¢ could be compared with the duplicate of the
4166
88
4167
Chenics C¢¢77.ty formerly in the collection of Alfred Drury
and now in the Victoria and Albert Museum (in store, A.2l-
4169
1971 ) and the superiority of the latter version was very clear.
4170
Gilbert had thought of giving the figures ivory hands and
4171
faces (Dorment, op. cit.) but instead polychromc ambitions
4172
were transferred to the bronze itself, and in the origival and
4173
the duplicate the flesh was patinated red by Parlanti to contrast
4174
with the golden brown draperies. The granular surface as well
4175
as the colour of the Ashmolcan sand-cast is dull when
4176
compared with that of Parlanti's lost-wax cast. The
4177
Ashmolean's figure is far less finely modelled-there is much
4178
less detail in the right sleeve, the fingers of her right hand
4179
have now vanished, she has no left hand at all, and thcrc is
4180
no expression on the children's faces. Similar differences can
4181
bc discerned by comparing photographs of the other two
4182
allegories with the bronzes in place at Chenies. The
4183
explanation must bc that Gilbert cithcr had plaster casts of
4184
the sketch models or more probably had rough plasters of the
4185
completed bronzes which he rcworkcd (using a hard workable
4186
plaster) to make them more suitable for sand-casting and
4187
perhaps broader in feeling, endeavouring to correct his own
4188
fatal pursuit of the over-elaborate.
4189
BRITISH SCULPTURES, BY ARTIST'S NAME
89
4191
BRITISH SCULPTURES, BY ARTIST'S NAME
4192
Foundry of the Compagnie des Bronzcs, Brussels
4193
After Sir Alfred GILBERT ( 1854-1934)
4194
@@PROCESS
4195
511. St Catherine (The Miraculous
4196
Wedding)
4197
49.5 cms. (height, including integral bronze base)
4198
Bronze with a very dark brown patina worn in some salient areas to
4199
a chocolate brown. Hollow, sand-cast. The base was cast separately
4200
and the figure bolted to it.
4201
Bequeathed by the Rcvd J. W. R Brocklebank in November 1926.
4202
Probably acquired by him after the summer of 1913 because not
4203
mentioned by Gilbert in his letters to Brocklcbank between 1910
4204
and 1913. No.15 in Andrew Shirley's rcccipt of January 1927 as
4205
`The Vlrgin and Child Standing 20" high'.
4206
Gilbert eventually included among the extraordinary saints in
4207
the grille of his tomb of the duke of Clarencc in the chapel
4208
at Windsor Castle two St Cathcrincs-Catherine of Sicna and
4209
Catherine of Egypt-and, although these were only
4210
completed after his return from `exile' in Bruges in 1926, hc
4211
must have been working on the thcmc at the time of his
4212
bankruptcy in 1901. Given the swirling forms of the broadly
spreading base for this figure it must, as Lavinia Handley-
4214
Read first pointed out, have been his project for a Sf C¢£ife7¢.#c
4215
in about 1898, which can also bc traced in a second modified
4216
version probably dating from a few years later ( `Alfred Gilbert:
4217
A New Assessment, Part 3: The Later Statuettes',
4218
Co»"o¢.JJc„r,164 ( 1968),148-51 ). Dorment has ingeniously
4219
proposed that 777c M¢.#¢c„/o#f Wcdd¢."g (as this group is
4220
often caued) is `a fusion of the imagery of both St Cathcrinc
4221
of Egypt, represented as a heavily veiled eastern woman, and
4222
St Catherine of Siena, who mystically wed the Christ Child'
4223
(Alf red Gilbert: Sculpeor and Goldsmith (R!ayal Aucedc:rrry ,
4224
London, 1986), no. 98, pp.1834), but, whilst it is true that
4225
Gilbert was capable of treating Christian imagery as if it were
4226
a private mythology to be embellished and varied as hc fancied,
4227
this figure is surely intended simply as St Catherine of Egypt
4228
(or of Alexandria as she is more usually known), for she as
4229
well as Catherine of siena received from Christ a ring. The
4230
action depicted in the sculpture is that of Christ kissing the
4231
hand which he has just honoured in this manner. Had the
4232
model been executed for Windsor it would no doubt have
4233
been polychrome but Gilbert was prepared to have less
4234
extravagant casts made. The first was cast by `O'Neill' and
4235
sold to a Mrs Richardson in 1900 as we know from Gilbcrt's
4236
son's studio diary. This version is now in `a Parish Church in
4237
Scotland' (no. 98 in the exhibition cited). There are other
4238
casts in the City Art Gallery and Museum, Birminghain
4239
(P38.'73) and in the collection of Mrs Noel Blakiston in
4240
I.ondon (see Dorment's entry for no. 99, p.182, in VG.cforG.¢„
4241
H¢d¢ Rc#¢!.ff#„ce, an exhibition held 1978-9 at the City Art
4242
Gallery, Manchester, at Minneapolis, and Brooklyn). As
4243
Dorment observed (ibid. ) it is surely to this work that Gilbert
4244
rcfcrs darkly in a letter to the press written in 1914 warning
4245
of pirated casts-`a first sketch for a small group, one of a
4246
number of subjects of its size, destined for the tomb of the
4247
90
4248
Duke of Clarencc, but abandoned for a better rendering
4249
upon which I am actually engaged at the present time'. It is
4250
typically inconsistent that Gilbert had himself sold a cast of
4251
the `abandoned' `skctch' in 1900.
4252
BRITISH SCULPTURES, BY ARTIST'S NAME
4253
Foundry of the Compagnie des Bronzcs, Brussels
4254
After Sir Alfred GILBERT ( 1854-1934)
4255
@@PROCESS
4256
512. St George conducted by
4257
Victory
4258
56 cms. (height including integral bronze base); 26 cms. (diameter
4259
of integral bronze base); 2.35 cms. (height of marble plinth);
4260
26.8 cms. (diameter of marble plinth)
4261
Bronze with a dark brown to golden brown patina. The patina is
4262
somewhat deteriorated; but it can be seen that the figure of victory
4263
was originally brighter in colour. Hollow, lost-wax, cast. The
4264
pennant, palm, and brittle trappings are separately fashioned in
4265
copper. The integral bronze base terminates in mouldings of
4266
octagonal plan and fits upon (but is not bolted to) an octagonal
4267
plinth of dark grey fossil marble (English or Belgian). The group
4268
received conservation treatment in 1984 from David Armitage for
4269
a corroding interior caused by damp storage and by solder employed
4270
for a fixing bar.
4271
Bequeathed by the Revd J. W. R. Brocklebank in November 1926.
4272
Acquired by him after-probably soon after-27 May 1913. No.
4273
27inAndrewShirley'sreceiptofJanuary1927as`Agroup,Boadicea
4274
on rockwork plinth 21 " high'.
4275
The idea for the group originated, according to Gilbert, in a
4276
dream of 15 May 1904. Gilbert thought that it might serve
4277
as an over-life-size Boer War memorial. He exhibited a plaster
4278
sketch model of the equestrian Sf Gco#gG at the Royal
4279
Academy in 1906 (no. 1773, `St George and the Dragon,
4280
Victory leading. Sketch model for a proposed War
4281
Memorial'). The figure of victory is derived from the figure
4282
origivally devised for the Quccn Victoria Memorial at
4283
Winchester which at this period Gilbert was having cast as an
4284
independent statuette (see No. 502). On 22 July 1910 Gilbert
4285
wrote to Brocklebank that he had `other versions of the same
4286
theme [ V¢.c4ory] and I am only too glad of the opportunity
4287
of providing new work instead of repeating old cfforts'. On
4288
28 July hc was more explicit:
4289
I should prefer to give you a new work. I have the model of a St
4290
George on horseback, being led by Victory. This work is very far
4291
advanced, indeed it is in plaster and was exhibited a few years ago
4292
at the Royal Academy. Personally I consider it by far my best
4293
dccorativc effort. I have as I told you in my last letter, stin another
4294
version of the same theme. I am, as you will see fond of the subject.
4295
The subject comes up again on 25 Apul 1913 when Gilbert
4296
wrote to Brocklcbank as fouows:
4297
As regards the St. George led by Victory the model is intact, as you
4298
saw it at the Royal Academy; the legs of the horse, ¢ffG #of m¢»f¢.»g.
4299
You see what fuse impressions photography badly done, sometimes
4300
give. The model is actually in London, stored with many other
4301
things belonging to me. I shall be pleased to give you the first refusal
4302
of the work and this I win do later, when I can detcrminc a price.
4303
Imayadd,thatmypricedoesnot[illegrbleword-render?]necessary
4304
a ready cash payment, I am sometimes, better plcascd to receive my
4305
payments by installments.
4306
The group is presumably one of three pieces (the others a Sf
4307
JIf¢.c4¢c/ and a C¢.rcG) mentioned as being prepared for
4308
Brocklebank in a letter of 27 May 1913.
4309
There is no subsequent surviving correspondence in the
4310
Department's archive, but it would seem likely that the
4311
Ashmolean's group is one of the earliest, if not the earliest,
4312
of the casts made of this group. Any bronze made under
4313
Gilbert's direction by that date was cast by the Compagnie
4314
dcs Bronzcs (he used the firm's stationery for many of his
4315
letters to Brocklebank) and they were making casts of the
4316
group a decade later for the Fine Art Society-the version in
4317
the Fitzwiuiam Museum, formerly in the Handley-Read
4318
Couection, can be dated to 1923. This latter version (which
4319
was no. 101 in the Royal Academy exhibition of 1986, 4//7cd
4320
Gjlper:: Sc_ulp.i?r .and Goldsmith) is .in saperto[ condiion,
4321
with the Gothic letters on the pennant for instance possible
4322
to decipher as `Alfred Gilber[' and distinguished in gold. The
4323
pennant is missing from an otherwise very fine cast in the Ijos
4324
Angcles County Museum of Art (M. 87.119.17).
4325
The problem that the letters to Brocklebank leave unclean
4326
is whcthcr Gilbert intended to make the group something
4327
less like a sketch. As it is, the base represents a weird and
4328
unresolved combination of the naturalistic symbolism found
4329
in the base of the Jc¢pr#f (No. 500) and the swirling symbolic
4330
ornament about which hc had since become so obsessed.
4331
Most viewers, however, fun to pcrccive the form of the dead
4332
dragon draped over the battlements of a toy city, so
4333
completely do both seem to decompose into the mud upon
4334
which the dainty knight (understandably mistaken for a
4335
woman by Andrew Shirley) prances.
91
4337
BRITISH SCULPTURES, BY ARTIST'S NAME
4338
BRITISH SCULPTURES, BY ARTIST'S NAME
4339
Dora GORDINE FRBs (b. 1906)
4340
@@PROCESS
4341
513. Posthumous portrait of
4342
Lucien Pissarro
4343
31.7cms. (height); 7.5 cms. (height of plinth); 24cms. (length
4344
of plinth); 20 cms. (width of plinth)
4345
:ars::zfo¥:hGaof:Sn¥;i:edne::,;:#cfs:,fjEatu;ncain¥::[oa:;:::tt.hwearb,ack
4346
of the crown of the head. Mounted on a wooden plinth.
4347
Presented by Orovida Pissarro, daughter of Lucien, in June 1957-
4348
registcrcd on 12 June.
4349
Lcttcrs in the Pissarro archive reveal that Dora Gordine Hare
4350
(she married in 1936 the Hon. Richard Hare, 1907-66,
4351
diplomat and linguist) was a friend of Orovida Pissarro. The
4352
sculptor acknowledged a chcquc for £50 towards the bronze
4353
of the latter's father on 5 June 1956 and in a letter which
4354
probably accompanied this she discussed the increase in cost
4355
which beard and hat would occasion over her oridnal estimate:
4356
noting that these doubled the size of the mere head and that
4357
one could hardly dispense with the beard and that one always
4358
had to pay for being distinctive rather than `mass-produced'.
4359
The hat was, it seems, omitted. A further payment of floo
4360
was acknowledged on 30 September 1956, as was, on 6 June
4361
1957, a `final cheque' of £815f. It would seem that Orovida
4362
commissioncd the sculpture specifically for the new Pissarro
4363
Room which was opened in the Ashmolcan Museum at the
4364
end of June, although in the event it was placed elsewhere
4365
and only the bust of Camille Pissarro by Paulin (No. 296)
4366
was set up in the room (which seems to have displeased Dora
4367
Gordinc). The projected hat might have been designed to
4368
make the portrait more of a companion with the Paulin.
4369
Letters from Ian Robertson to Orovida Pissarro of 15 and 24
4370
April discuss the patina of the bronze. According to
4371
Robertson, the Keeper, Parker, felt that the Paulin bronze
4372
was too black and had bccn impressed by a paler grecni§h
4373
patina that he had seen given to a torso by Rodin with the
4374
dealers Roland Browse and Delbanco and this Gordine was
4375
urged to imitate. A letter of 27 May suggests that the plinth
4376
was provided by the Museum.
93
4378
BRITISH SCULPTURES, BY ARTIST'S NAME
4379
Joseph GOTT ( 1786-1860)
4380
@@PROCESS
4381
514. Cupid
4382
41.4cms. (height of bust); 11.8 cms. (height of turned socle and
4383
block plinth)
4384
Carrara marble. `l. GOTT Fl' is chiselled on the back edge of the
4385
temination of the bust. `S.34 e' is painted in black below the
4386
neck. Mounted on original turned and waisted socle with flat space
4387
•for inscription above upper mouldings.
4388
Bequeathed by C. D. E. Fortnum in 1899. S. 34 in his catalogues.
4389
Probably acquired by him in Rome in 1851 (see No. 3), ccrtalnly
4390
acquired by him before 1857 when included in his preliminary
4391
manuscript catalogue (p. 7). The photographs of the Hill House,
4392
Stanmore, drawing room show the bust companion with No. 515
4393
on black marble piers on either side of a large looking glass opposite
4394
Nos. 3 and 20 similarly arranged at the other end of the room.
4395
The bust is copied from the celebrated A7#o7ic or Erof a/
4396
Centocelle. also lmown a.s the Genius Of the Vatican, a statue-never
4397
restored in the arms and also missing most of the legs-which
4398
was to be seen in the Galleria delle Statue in the Vatican
4399
Museums. It had been discovered before 1772 under the
4400
papacy of Clement XIV, to whom it was sold for 280 fc#d¢.
4401
by Gavin Hanilton, having been excavated on the Via
4402
Labicana, Centocelle, on the site (Visconti speculated) of the
Villa of Heliogabalus. (See E. Q. Visconti, A4"fco P¢.a-a/
4404
c7"e"£¢.»o (Rome,1818), i, pl. xii, pp. 20-I; C. Pietrangeli,
4405
Scarii e scoperte di antichitd sotto il Pontificato di Pio VI
4406
(Rome,1958), 89 no. 4.) Copies were quickly in demand
4407
with visitors to Rome and they seem usually to have been
4408
busts. Henry Blundell, for instance, had two in his collection
4409
at Ince in Lancashire by 1803 (`H.B.', Acco#7¢£ a/£¢c Sf¢f"GJ
4410
. . . ¢f J»cc (Liverpool, 1803), mos. 121 and 183, probably
4411
corresponding with nos. 6901 and 6909 in the Walker Art
4412
Gallery, Liverpool, today, as noted by E. Morris and M.
4413
Hopkinson, FoyGGgiv C¢£¢/o2r%G (Liverpool,1977), 318-19).
4414
Fortnum seems to have had no personal knowledge of, or at
4415
least not much interest in, Gott, whose initial hc records in
4416
his later catalogues as `1.' misreading his own handwriting
4417
(`J' is given in his early entry).
4418
94
4419
BRITISH SCULPTURES, BY ARTIST'S NAME
4420
Joseph GOTT ( 1786-1860)
4421
@@PROCESS
4422
515. Isis
4423
54.5 cms. (height including socle); 12 cms. (height of socle);
4424
19.5 cms. (diameter of socle)
4425
Carrara marble. Chiselled on back edge of termination of the t5ust:
4426
`T. GOTT Fl' Mounted on an original turned and waisted socle with
4427
a flat space for inscription above the upper mouldings.
4428
Bequeathed by C. D. E. Fortnum in 1899. S. 35 in his catalogues.
4429
Probably acquired by him in Rome in 1851 (see No. 3), certainly
4430
acquired by him before 1857 when included in his preliminary
4431
manuscript catalogue (p. 7). For location in the Hill House,
4432
Stanmoor, see No. 514, for which this is evidently designed as a
4433
companion.
4434
The head is copied from one in the Sala dei Busti of the
4435
Museo Pio-Clemcntino in the Vatican acquired from Cardinal
4436
Albani's collection under the pontificate of Pope Pius VI and
4437
published by Visconti as rcprescnting Isis on account of the
4438
I.otus-shaped central curls. It is now regarded simply as an
4439
ideal female. There are no obvious differences except that in
4440
the Vatican version the shoulders and chest are uncomfortably
4441
terminated along the lines of the falling locks of hair so that
the head is more obviously a tidied-up fragment of a full-
4443
1ength statue-the soclc, however, is the same. (For the
4444
Vatican marble see W.' Amelung, D¢.c Sc#/P£"7ic„ deJ
4445
V¢f¢.c¢7?¢.Jc¢c7¢ A4l#fc"7#f (Berlin,1908), ii, 3, no. 375,
pp. 558ndo (text) and ii, pis. 65 and 73.)
4447
BRITISH SCULPTURES, BY ARTIST'S NAME
4448
Giovanni Battista GUELFI (active 1715-34)
4449
@@PROCESS
4450
516 and 517. Bust portraits of
4451
Thomas Fermor and his wife
4452
Henrietta Louisa, earl and countess
4453
of Pomfret
4454
71.5 cms. (height of bust of I.ord Pomfret including socle);
4455
74.7 cms. (height of bust of IAdy Pomfret including socle);
4456
13.4 cms. (height of both socles); 19.8 cms. (diameter of base of
4457
both socles); 121 cms. (height of both pedestals)
4458
Carrara marble. There is a slight flaw in the marble under the chin
4459
of the portrait of Lady Pomfret. Both busts are attached to turned,
4460
waisted socles of a green and pink bruised and mottled breccia
4461
marble. There is a metal plate attached under the base of the socle
4462
of the bust of I.ady Pomfret. Both busts are mounted on pedestals
4463
in the form of column shafts of ¢rccc;¢ dG. SGr"pezz# marble with
4464
plinth and base moulding of white Carrara marble. The names of
4465
the sitters and their dates are chiselled on the columns and the
4466
letters are added.
4467
Presumed to have been given to the University of Oxford with the
4468
residue of the earl of AIundcl's conection of marbles at Easton
4469
Neston by the dowager countess of pomfret in 1755, but conceivably
4470
added to that gift after her death. Recorded by C. F. Ben in the
4471
first of his j4"„#¢/ RcPo#f to the visitors of the Ashmolean Museum
4472
as Keeper of the newly formed Department of Fine Art (1908: 9)
4473
as recently supplied with their pedestals and inscriptions and placed
4474
in two of the niches on the landing of the redecorated great staircase,
4475
where they have remained ever since.
4476
E=
4477
r
4478
96
4479
The suggestion that this pair of busts is by Guclfi seems first
4480
to have been made by Mrs Esdaile (in a letter to C. F. Bell of
4481
1922 or 1923 which has not survived but to which Mrs Esdaile
4482
refers in a later letter to Parker of 15 November 1934). She
4483
pointed out that Guclfi was known to have worked for the
4484
Pomfrets at Easton Neston. The similarity with other
4485
documented and signed sculpture by Guelfi, and in particular
4486
with other bust portraits, confirms the attribution beyond
4487
reasonable doubt. Comparison with the marble bust inscribed
4488
`Joannes Baptista Guelfi Romanus fccit' commemorating the
4489
duchess of Richmond, who died in 1722, part of the
4490
monument crectcd in 1734 in the church at Decne,
4491
Northamptonshire, for which the terracotta model is in the
4492
Victoria and Albcrt Museum, is particularly telling.
4493
If the latter terracotta is excepted, the busts of the Pomfrets
4494
must be the best surviving works by Guelfi in this country.
4495
They are also in excellent condition. The flow and the texture
4496
of the antique drapery, the crisp carving of the hair (most
4497
evident in Lady Pomfret's side curls), and the softness of the
4498
flesh (in Lord Pomfret's lips especially) are marvellously
4499
preserved. However, the fact that husband and wife look
4500
sufficiently alike to bc brother and sister hints at Guelfi's
4501
limitation as a portraitist-a limitation weu defined by
4502
Margaret Whinney: `All Guelfi's portraits have the sane long
4503
faces, large-featured, haughty, and shghtly horse-like-in fact,
4504
to an Italian, the typical English face' (Sc#/Pf"rG G.# Br¢.}¢G.7¢
4505
1530-J830 (Harmondsworth,1964), 81 ).
4506
BRITISH SCULPTURES, BY ARTIST'S NAME
4507
Perhaps by Giovanni Battista GUELFI (active 1715-34|
4508
@@PROCESS
4509
518. Female sphinx `couchant'
4510
61 cms. (height including integral plinth); Ill cms. (length of
4511
integral plinth); 33 cms. (width of integral plinth)
4512
Coarse-grained white marble (not Carrara). The surface is much
4513
abraded from exposure to the frost. The nose, pa.rt of the lips, and
4514
the top of the miniature Double Crown have been broken off (before
4515
1763). The sculpture was cleaned by Mrs Kimber in 1989. It was
4516
previously darkened with much deeply ingrained dirt and partially
4517
green from moss.
4518
The sphinx is one of a pair belonging to the collection of ancient
4519
sculptures given to Oxford University by the dowager countess of
4520
Pomfrct (see No. 526) in 1755. The collection included a large part
4521
of the `Arundel marbles' bought by her father-in-law Sir William
4522
Fermor (later Ijord Lempster) from the sixth duke of Norfolk in
4523
1691; until its transfer to Oxford it was housed at the Pomfrets'
4524
seat Easton Neston, Northamptonshire, where the sculptures were
4525
distributed between the house and grounds. The two `Sphynges'
4526
were seen in the garden-house there by John I.oveday (J. E. T.
4527
I.oveday, D¢.¢vy a/a To#y j» j732 (Roxburghc Club, Edinburgh,
4528
1890), 225). Both may have originally been in the great collection
4529
formed by the earl of Arundel in the first half of the seventeenth
4530
century: there are, however, grounds for thinking that only one
4531
came from that source, and that the other was made at the behest
4532
of the Pomfret family (scc below). In Oxford the sphinxes were
4533
placed in the sculpture gallery of the Old Schools to either side of
4534
the statue of "¢.»cr which closed the vista as may just be discerned
4535
in William Westall's watercolour drawing of 1813. After transfer to
4536
the University Galleries they were placed in the Crypt or sub-gallery
4537
but remained visible to the public. They are recorded there in the
4538
H¢#dfoo4 G„¢.dG of 1859 (mos. 114 and 116, p. 23). They seem to
4539
have been put into storage in the late nineteenth century. They
4540
were loaned to the Botanic Gardens whose curators had requested
4541
suitable statuary in 1959. In May 1989 they were rctrievcd on the
4542
initiative of Dr Whitchouse and placed on display in the Randolph
4543
Gallery.
4544
Although the two Pomfret sphinxes are closely matched in
4545
iconography, there are notable differences of style: the sphinx
4546
catalogued here seems to have been modelled on the other
4547
statue, which is smaller and less well preserved. Neither is an
4548
accomplished piece of sculpture, and the smaller sphinx has
4549
been executed in a particularly summary fashion. Nonetheless,
4550
its adherence to traditional Egyptian iconography is
4551
noteworthy, and suggests that it is of the Roman Imperial
4552
period, when other sinular sphinxes were certainly made for
4553
`Egyptian' settings. The white marble is atypical of native
4554
Egyptian work, even of this period, and probably indicates a
4555
Mediterranean origiv. This sphinx might well have been
4556
acquired in Italy in the seventeenth century for Anindel's
4557
collection.
4558
Its larger companion (No. 518) is a more corpulent and
4559
fleshy creation in which the details of the smaller sphinx are
4560
copied but improved upon: the anatomy is rendered more
4561
plastically, the face broadened and ennobled, the roughly
4562
incised details of the collar translated into relief, and the
4563
striped »cowef headcloth treated in a style closer to the
4564
cushiony aspect of this fcaturc on rococo sphinxes. The
4565
rounded profile of the chest has been converted, erroneously,
4566
into swelling female breasts. The sphinx might have been
4567
made for Arundel, but for reasons of style and circumstance
4568
it seems likely that it was commissioned as an addition to the
4569
collection at Easton Neston, at a time when paired sphinxes
4570
(often differentiated as male and female) were becoming
4571
popular items of garden sculpture.
4572
Guelfi was said by Vertuc to have spent `somc time at Iid.
4573
Pomfrets . . . Eston . . . Northampt. imployd. repairing the
4574
Antique Statues. Arundel Collect.' (`The Vcrtuc Notebooks',
4575
iri, Wfl7/po/c Soc¢.cty, 22 ( 19334), 734) so it is likely that it
4576
was he who created this larger sphinx to pair with the smaller,
4577
ancient one (as suggested by John Davis in his forthcoming
4578
study of garden ornaments). `Afterwards Guclfi was much
4579
employed for many years by Iud. Burlington in his house in
4580
I.ondon and made many statues for his Villa at Chiswick'
4581
(ibid. ). There are at Chiswick a pair of portland stone sphinxes
4582
dating from before 1733 (now in the gardens north of the
4583
house) which show strong similarities to the Pomfrct pair
4584
with their miniature Double Crowns. They arc, however,
4585
much more accomplished sculptures and have the addition
4586
of omamcntal saddle-cloths masking their ribby flanks, a
4587
dcvicc probably popularized by Houzeau and Lerambert's
4588
Versailles pair of 1668 (seemingly the progenitors of the
4589
fashion for garden sphinxes, though the putti which
4590
accompany them do not appear elsewhere). The Chiswick
4591
stone sphinxes scrvcd in turn as the models for a lead sphinx
4592
by John Cheere (at Chiswick, with copies elsewhere) and a
4593
pair of stone sphinxes at Goodwood.
4594
The sift of the Pomfret Collection to the University was
4595
marked in the O#o#¢ A/ow¢"¢c& for 1755 with a fanciful
4596
engraving of its triumphant arrival, but the single sphinx
4597
depicted therein resembles neither sculpture closely but is
4598
rather a generic representation, typical of antiquarian
4599
iuustrations of the period. The larger sphinx was illustrated
4600
in an engraving by J. Miller in Chandier's A4l¢rowo7¢ O#o»¢.c»j¢
4601
of 1763 in a garden setting and in its prcscnt broken condition
4602
(i, pl. CIXVII). In Chandler's notes there is no indication
4603
that it was not an ancient work like its companion: `eximie
4604
sculpta, ct cum altera, quam habemus, huic simili, more
4605
Aegyptio omatissima' (ibid. p. viii).
4606
Most of this catalogue entry has been compiled by Helen
4607
Whitehouse of the Department of Antiquities.
97
4609
BRITISH SCULPTURES, BY ARTIST'S NAME
4610
98
4611
BRITISH SCULPTURES, BY ARTIST'S NAME
4612
H. HELY (active 1822)
4613
@@PROCESS
4614
519. Dying gladiator
4615
49+7 cms. (height including plinth); 6.9 cms. (height of plinth);
4616
94.8 cms. (length of plinth); 44.6 cms. (width of plinth)
4617
Carrara marble. The sculpture was discoloured a uniform dark brown
4618
presumably from storage in condition where dirt was combined
4619
with the discharge of oil heating-t a glance it would have been
4620
mistaken for a bronze. When cleaned early in 1987 it was found
4621
that the marble had been stained an unattractivc yeuow and all the
4622
original polish had been lost. The end of the penis has been broken
4623
off and lost, as has the large toe of the proper right foot. There are
4624
recent minor losses to the lower edge of the plinth. A small
4625
projection in the pubcs reflects the use of a copyist's point. `H. HELy.
4626
FACIEBAT / ROMAE. MDCCCXXII.' is chiselled on the front face of
4627
the plinth to proper left near the figure's left foot. The date is in
4628
smaller capitals.
4629
From the bequest of the Revd Robert Finch MA, received in the
4630
Department soon after 22 February 1973 when the Librarian of the
4631
Taylor Institute, Giles Barber, wrote to Gerald Taylor seeking
4632
suitable storage for this item (and a plaster cast of an antique relief).
4633
The sculpture was no. 45 on a list of 45 works of art described as
4634
part of the bequest in a memorandum dated `4/6/83' (1883) to
4635
which the note is added that the above works were `finally' handed
4636
to the Keeper of the Ashmolean on 22 August 1921 but returned
4637
by him as not desirable. The history of this bequest is highly
4638
complicated. Finch ( 1783-1830) died in Rome, having resided for
4639
some years in Italy for reasons of health. He bequeathed his library
4640
and works of art to Oxford University, with a life interest for Henry
4641
Mayer, his secretary, who, however, handed them over to the
4642
University in 1839. The collections were deposited in the Taylorian
4643
but were redistributed and partly disposed of around 1910. C. F.
4644
Bell, then Keeper of the Department of Fine Art, did his utmost
4645
not to accept anything and had a specially low opinion of this marble.
4646
Although no documentation exists to prove it, however, it must be
4647
identical with the copy of the G/¢d¢.¢}or displayed in the University
4648
Galleries during the nineteenth century at the head of the stairs
4649
leading down from the Randolph Gallery to the basement.
4650
The J2)l¢."gg/¢dG.¢£o7', or P);¢.„g G¢#/, in the Capitolinc
4651
Museum, of which this is a poor, reduced copy, was for
4652
several centuries one of the most famous and frequently copied
4653
antique statues. For an account of its fame and critical fortunes
4654
see F. Haskell and N. Penny, T¢ae ¢#d £4e A78f¢.g"c (I.ondon
4655
and New Haven, Conn.,1981), 224-7. I have found no
4656
other mention of the sculptor Hely.
99
4658
BRITISH SCULPTURES, BY ARTIST'S NAME
4659
Presumably `Cox of Chapel Place', I.ondon
4660
After John HENNING ( 1771-1851 )
4661
@@PROCESS
4662
520. Gods in congress, warriors on
4663
parade, and sacrificial procession
4664
(from the Parthenon frieze)
4665
Each relief is 5.2 cms. high. They are of varied length. The frame
4666
is 32 cms. high and 43 cms. long
4667
Twenty-one thin copper electrodeposits, slightly tarnished, nailed
4668
irregularly into wood, and framed with a plain, flat, coarse pine
4669
moulding painted white. The five reliefs in the first row include
4670
inscriptions in raised letters as follows: `W5 HENNING F 1819';
4671
`W9 / HENNING F 1819'; `W4 HENNING F. PUB. 1817'; `Wl 1';
4672
`Wlo / HENNING F / 1819 / 19 QUEENS ROW. PENTONVILLE
4673
LONDON'. Of the four reliefs in the second row the first is unlettered,
4674
the others are inscribed as follows: `HENNING. F. 1820'; `W5
4675
HENNING F 1819'; `HENNING F. APRIL 1820 / I.ondon'. The four
4676
reliefs in the third row arc inscribed as follows: `HENNING. F. / S / D';
4677
`HENNING F.1817 / ILW'; `8W/ 1819 LONDON / HENNING. F';
4678
`. . ORTH HENNING F LONDON 1820'. The four reliefs in the fourth
4679
row are stamped as follows: `D'; `E9 8 / HENNING. F'; `WI W2
4680
HENNING. F. May 2.1821'; `HENNING. F. PUB [thc remainder is
4681
illedble]' . The second of the four reliefs in the fifth row is unstamped,
4682
the others are stamped as follows: `HENNING / SID'; `E.11 HENNING
4683
F'; `HENNING 1817/ 14 W'. An old label on the back of the franc
4684
is inscribed in brown ink in a nineteenth-century hand: `ELectro
4685
type by Henning Copied from Bas reliefs (reduced) found in the
4686
ruins of the Temple of Apollo / Epicurus Built on Mount Cotylion
4687
at a distance from the ancient city / of Phigalia in Arcadia-this Bas
4688
relief is part of the Frieze in the interior / of the Cella / Presented by
4689
Mr Rind / 1854.'
4690
Given to the University in 1854 by `Mr Rand' (see above);
4691
transferred from the Department of Antiquities in 1962. If Mr
4692
Rand's Sft was to the University Galleries it was not recorded in
4693
the Donations Book. It may have been given to some omer
4694
institution within the University and subsequently deposited.
4695
The label on this franc of rclicfs is erroneous: all the retiefs
4696
are after the Parthenon ffieze in the British Museum and have
4697
bccn thoughtlessly assembled. The two duplicates make it
4698
unlikely that the frame rcprcscnts an oridnal set. The five
4699
reliefs in the first row are from the west frieze of the temple:
4700
slab V; slab IX; slab VII; slab IX; slab IX. The four reliefs in
4701
the second row are mostly from the north frieze: slab XIII;
4702
slab XVIII; slab V (from the west frieze, a duplicate of the
4703
first relief on the top row); slab XIV. The four reliefs in the
4704
third row are: south frieze, part of slab XXXVIII and slabs
4705
XLIII-XLIV; west frieze, slab XIV; west frieze, slab VIII;
4706
noith frieze, slabs XXII-XXIII. The four reliefs in the fourth
4707
row are: south frieze, slab XXXVIII; east ffieze, parts of slabs
4708
VI and VII; west frieze, slabs I-Ill; west friczc, slab Ill. The
4709
four reliefs on the fifth row are a duplicate of the first on the
4710
third row; east ffiezc, part of slab V; east frieze, part of slab
4711
VII; west ffieze, slab XIV.
4712
John Henning, the son of a carpenter and cabinet maker
4713
in Paisley, Scotland, was working as a wax modeller in 1799.
4714
He moved to Glasgow in 1801, to Edinburgh in 1803, to
4715
@@PROCESS
4716
100
4717
I.ondon in 1811, experimenting with paste and enamcls in
4718
emulation of his compatriot James Tassie. In London
4719
Hcnning started drawing from the Parthenon marbles and in
4720
1812, encouraged by Princess Charlotte, hc carved a miniature
4721
version of the friczc in ivory, restoring the fragmentary or
4722
abraded portions. He then made slate intaglios from which
4723
casts in white enamel and plaster could be made and by 1816
4724
proposed making casts in one of wcdgwood's wares (hc had
4725
earlier made contact with Wedgwood concerning the
4726
reproduction of his medallion portraits). The proprietors of
4727
the ivories, Earl Rosslyn, the marquess of Lansdowne, and
4728
Princess Charlotte, permitted this. Indeed the princess, who
4729
had herself portrayed by Hcnning in the attitude of one of
4730
the goddesses on the frieze, is said to have `luxuriated' in the
4731
idea of casts of the ivory frieze being `distributed among her
4732
fficnds'. The enamel and plaster reproductions, however, were
4733
undertaken on a highly commercial basis.
4734
A complete set was offered for 30 guineas. `It has been
4735
done to a scale of a twentieth of the originals; being two
4736
inches high, and twenty-four feet four inches long; published
4737
in six parts, from forty-six to fifty-four inches long, each part
4738
framed at length separately; they form elegant ornaments for
4739
a chimney-piece; or, fitted up in emulation of volumes, arc
4740
adapted to the library. Any part, or portions of a part, can be
4741
had separatcly', according to an advertisement of 18
4742
December 1820. Between 1820 and 1825 Henning also
4743
published casts of miniature reliefs he had made of the
4744
Phigalian frieze (see No. 521 ) and the Raphael cartoons. On
4745
10 August 1841 an advertisement announced that the price
4746
had bccn greatly reduced owing to piracy. The whole series
4747
in a mahogany cabinet with nine drawers was offered at 10
4748
guineas. On 27 November 1845 the publication by
4749
subscription of Frecbairn's contour engravings after
4750
Henning's reliefs was announced and the same advertiscmcnt
4751
mentions the genuine electrotypes made from the intaglios
4752
by `Mr Cox of Chapel Place Battersea Fields'. Despite these
4753
ventures and the commissions for stone carving shared with
4754
his son, John Henning the younger, for the exterior of the
4755
Hyde Park Screen, the Athenaeum in Ijondon, and the Royal
4756
Manchester Institution, Henning died in poverty. (Almost all
4757
the above information is drawn from J. Malden, /o4"
4758
Henning 1771-1851: t. . . a very ingenious Modeller' (FLerr£Iow
4759
District Council and Art Galleries, Paisley,1977). ) For the
4760
process of electrotyping (org#/p¢#ap/¢f£¢.A) in the last century
4761
see S. Bury, Vjcfor¢.¢» E/Gcfyop/¢£g (I.ondon,1971 ), 8.
4762
BRITISH SCULPTURES, BY ARTIST'S NAME
4763
@@PROCESS
101
4765

                
4766
BRITISH SCULPTURES, BY ARTIST'S NAME
4767
After John HENNING ( 1771-1851 )
4768
@@PROCESS
4769
521. Lapithae battling with
4770
Amazons and centaurs (from the
4771
Temple of Apollo at Bassae)
4772
Each piccc is 6.2 cms. high. The lengths of the pieces are as
4773
follows: (¢) 21.5 cms., (4) 23.9 cms., (c) 22.5 cms., (® 24.5 cms.,
4774
(G) 23.6cms., (/) 22.75 cms., ®) 24.5 cms., (47) 18 cms.,
4775
( ®.) 24.5 cms.
4776
Plaster of Paris with ingrained dirt and slight speckling from mould
4777
in a few areas. (a)-(/) and ®)-( S.) were framed under glass with a
4778
plain ebonizcd pine moulding as two continuous stripsrutn
4779
arrangement dating (to judge from old newspapers used as backing)
4780
from the last century. There are many breaks and missing chips as
4781
follows: (a) broken vertically in one place; chips missing from the
4782
projecting base; ( 4) chip missing from the projecting base; ( c) broken
4783
verdcally in one place; chips missing from the projecting base; ( dy
4784
broken vertically in one place; chips missing from the cdgc to proper
4785
right, the projecting edge, and along the break; (c) broken vertically
4786
in two places, of which that to proper right retains some old adhesive;
4787
chips missing from the projecting base, from the lower comer to
4788
proper right, and fi.om the proper left edge; (/) broken vertically in
4789
one place with remains of old adhesive; (g) broken vertically in two
4790
places; chips missing from the projecting edge and the shields; (A)
4791
broken vertically in one place and along two other lines to form
4792
two large and two small triangular pieces; chips missing from the
4793
two sides, the projecting edge, and along the breaks; ( ;) broken
4794
vertically in two places with other breaks au to the proper left-forming
4795
two large and four small pieces (and one piece missing);
4796
chips missing from proper right edge and from the breaks. In
4797
addition there is abrasion on some of the salient portions of the
4798
relief.
4799
@@PROCESS
4800
102
4801
On permanent loan from Trinity College, Oxford. The transfer of
these reliefs was arranged by the College archivist, Bryan Ward-
4803
Perkins, in the summer of 1987. The reliefs were presumably given
4804
to Trinity College in the nineteenth century.
4805
The nine plaster casts are taken from John Hcnning's
4806
miniature reproduction ( and restoration) of the ancient Greek
4807
ffieze of the Temple of Bassae (acquired for the British
4808
Museum in 1814). Hcnning's own casts are stamped with
4809
his name and with dates ( 1822 and 1823). It is possible that
4810
some casts, perhaps the earliest, before imitations appeared,
4811
were not stamped. The Ashmolean's casts, which are not
4812
stamped, may belong to this category: certainly their quality
4813
would be surprising in a pirated edition. For Henning's
4814
reproductions of antique fficzes generally scc No. 520. These
4815
rclicfs correspond as follows to the numbcrcd casts illustrated
4816
in I . Ma+den, John Henning 1771-1851.. t. . . a TJery ingeniotts
4817
A4lode//Gr' ( Renfrew District Council and Art Galleries, Paisley,
4818
1977), unpagivated: (¢) with number 8 (and (¢) is also
4819
scratched with an 8); (4) with numbers 9 and 10; (c) with the
4820
unnumbered first section; (d) with numbers 13 and 14, but
4821
more complete; (c) with the third piece down; (/) with
4822
numbers 11 and 12; ®) with part of number 18 and with
4823
number 19; (A) with number 18; (¢.) with number 20. The
4824
order in which the reliefs have bccn catalogucd here
4825
corresponds with that in which they wcrc framed in the last
4826
century. It is clear that it is most unlikely to reflect an
4827
arrangement made by Henning or by anyone familiar with
4828
the display in the British Museum.
4829
BRITISH SCULPTURES, BY ARTIST'S NAME
4830
@@PROCESS
103
4832

                
4833
BRITISH SCULPTURES, BY ARTIST'S NAME
4834
After designs by Thomas HOPE ( 1769-1831 )
4835
@@PROCESS
4836
522 and 523. Pair of hall tables
4837
( only one illustrated)
4838
79.5 cms. (height); 62.4 cms. (width of supports); 2.6 cms.
4839
(height of slabs); 133.6 cms. (length of slabs); 64.8 cms. (width
4840
of slabs)
4841
Mahogany. The `marble' slab is of green porphyry. The cross rail is
4842
a later addition. Some of the relief ornament on the scroll-shaped
4843
supports is applied*.g. the palmctte above and the honeysuckle
4844
below, also the innermost relief lines-and pieces of this have been
4845
replaced. The tables are placed upon modern marquetry plinths.
4846
Bought at The Deepdene Sale, Christie's, July-August 1917, lot
4847
@@PROCESS
4848
827, for £50. The tables were designed by Thomas Hope before
4849
1807, probably first employed in Duchess Street, IJ)ndon, and
4850
subsequently moved to The Deepdene near Dorking (acquired by
4851
Hope in May 1807 and extensively redecorated over the fouowing
4852
fifteen years).
4853
ThorrL2Ls Hope:' s Household Fttrmitt4re and 17iterior
4854
DGco7t¢f¢.a", published on I May 1807, recorded the furniture
4855
which he had had made for his house in Duchess Street-a
4856
house which was also a museum and in which he hoped that
4857
the `entire assemblagc' of the `productions of ancient art and
4858
of modern handicraft' would b€ harmonious (ibid. 34). The
4859
furniture was therefore modelled on antique Egyptian, Greek,
4860
and Roman examples. In this case the mahogany is treated
4861
much as the Romans treated a dark marble such as roj:fo ¢„f¢.co.
4862
And indeed the chief source for the design ofthc scrou supports
4863
with lion's paw feet must be the ancient bath made of this
4864
material known as the tomb of Marcus Agrippa, long visible
4865
in the portico of the I'anthcon, but incorporated in the 1730s
4866
into the tomb of Pope Clement XII in the Corsini Chapel in
4867
the Basilica of SS Giovanni e Paolo. This had already inspired
4868
not only numerous sarcophagi but the severe modern benches
4869
dc§igncd by Robert Adam for the mausoleum at Bowood in
4870
the early 1760s. Another source may have been the rt)JJo
4871
¢"£2.co bath chair in S. Giovanni in Laterano, Rome
4872
(presumably the `red marble throne in the Vatican' to which
4873
DaiNid`Nairkin rofcrs in Thomas Hope and the Nco-classical
4874
Jde¢ (I.ondon, 1968), 200). It would sccm unlikely, however,
4875
that these antique sources were the only inspiration for Hopc's
4876
design. Such scroll-shaped supports were also popular for
4877
Florentine tables of the mid-sixteenth century (a fine example
4878
was in the Bardini Collection and another is in the Leipzig
4879
Museum, both illustrated in F. Schottmuller, I owob¢./¢. G
4880
l'abitaeione del Rina§cimento in Italia (S"ttgart, L928),
4881
pis. 300 and 308, pp.133 and 137). Furthcrmorc earlier neo-classical
4882
dcsigncrs had revived this type of table. C. Percier
4883
and P. L. Fontainc's Rcc#c¢./ def de'cor¢fG.o„j (Paris, 1801 )
4884
includes a very similar table in the perspective of the bedroom
4885
of Citizen V.
4886
The green Egyptian poaphyry of which the slabs are
4887
composed is a rare antique material, with a sombre beauty
4888
appropriate to Hopc's scvcrc taste, which he must have
4889
acquired from Rome where they had no doubt been cut from
4890
@@PROCESS
4891
104
4892
the ccntrc of a column shaft (for an account of this stone see
4893
R Gnoli, A4:¢7'7¢¢o7i¢ Ro7"¢„¢ (Rome,1971 ),108-9).
4894
If the line engravings in Ho#£efo/d F#r"¢.f#yc which
4895
published these tables are reliable (pl. 12, nos. 6 and 7) then
4896
the tables origivally stood on plinths higher than those with
4897
which they are at present provided, and there was no stretcher
4898
between the supporting members: indeed the space below the
4899
table was occupied by one of the larger Greek vases in Hope's
4900
collection. The oriSnal absence of a stretcher may rcflcct the
4901
designer's lack of practical experience, neglecting to take the
4902
weight of the slab into account. In his preface Hope mentions
4903
that in the `vast metropolis' of I.ondon so `teeming with
4904
artificcrs' he had met with hardly any craftsmen capable of
4905
executing his ideas rchably: he cites a French bronzist, Decaix,
4906
and a carver from the Ijow Countries, Bogaert, however, and
4907
conceivably the table was made in the latter's workshop.
4908
C. F. Bell bought the tables for use in the galleries and they
4909
were fitted, probably under his Kcepership, with brass-framed
4910
glass cases made by the firm of Frederick Sage and Company
4911
in which a sclcction of the Fortnum bronzes were long
4912
displayed. These cases were removed in 1986. Bell mentioned
4913
in the A""„¢/ RGPo77 ( 1917: 6J9) that the tables would
4914
provide `hints' for the making of appropriate new fumiturc
4915
for the galleries. They must indccd have inspired the oak
4916
cases with scroll legs now employed for displaying drawings
4917
in the Combe Gallery (acquired in 1988 from the Taylor
4918
Library, to whom they had been transferred from the Bodleian
4919
Library who had obtained them from the Department of
4920
Antiquities to which they had migrated from the Department
4921
of Fine Art for which they were origivally made under Bell's
4922
directions).
4923
In addition to the two tables, Bell acquired from The
4924
Decpdcne sale (as lot 919) four sabre leg chairs with lyre-shaped
4925
splats, in `bois clair' with honeysuckle and other
4926
stylized inlay, also made to Hope's designs (Appendix 2, nos.
4927
68-71 ). In 1953 Lady Henriques bequeathed to the Museum
4928
a large group of furniture which included a massive sideboard,
4929
@@PROCESS
4930
298 cms. long, of solid mahogany with four ormolu wreaths
4931
on a frieze above four cabriole legs with hon's paws, reedcd
4932
anklets, and honeysuckle ornaments on the `knees' which was
4933
one of a pair made for Gloucester House, Park I.arc, the
4934
Ijondon home of the duke of Cambridge (the pair, belongivg
4935
to the testator's sister, was destroyed in the Blitz). This,
4936
although not designed by Hope, is close in style to the
4937
furniture of Duchess Strcct (Appendix 2, no. 73).
4938
BRITISH SCULPTURES, BY ARTIST'S NAME
4939
BRITISH SCULPTURES, BY ARTIST'S NAME
4940
Probably foundry of samuel Packer,12 Argyll Place, Ijondon
4941
After Samuel JOSEPH ( 1791-1850)
4942
@@PROCESS
4943
524. High-relief bust portrait of sir
4944
Walter Scott
4945
21.4 cms. (height of bust); 25.5 cms. (diameter of backplate)
4946
Bronze with a very dark slightly olive patina. The bust is hollow cast
4947
and soldered to the backplate. `SIRWALTER SCoTT' is chiselled in
4948
capital letters beneath the bust on the plate ground. On the reverse
4949
of the plate is engraved in very florid letters `S. Joseph RS.A.
4950
Sculpsit. / 1822 / Publishq 1830.'
4951
The bronze is kept in the Hebcrden Coin Room as part of the
4952
collection purchased from Colonel Michael H. Grant in 1953. It is
4953
included in his manuscript catalogue on p.156.
4954
Joseph was a foundation member of the Royal Scottish
4955
Academy: hence the RSA. The bust of Scott dates from the
4956
year of his move to Edinburgh in 1822. A bust by him of
4957
Scott (character and medium unrecorded) is said to be at
4958
Preston Hall, near Edinburgh, and to be dated 1825 (R.
4959
Gunnis, Dictionary Of British Sculptors (-Icondon, +968) 222).
4960
By 1830 Joseph had returned to Ijondon. The attribution of
4961
the cast to Parker's foundry depends upon its similarity to
4962
No. 525 which may well have been intended as a companion
4963
(Mackenzie and Scott being the most eminent Scottish
4964
authors of the day).
4965
@@PROCESS
4966
106
4967
BRITISH SCULPTURES, BY ARTIST'S NAME
4968
Foundry of samuel Parker,12 Argyll Place, London
4969
After Samuel JOSEPH (1791-1850)
4970
@@PROCESS
4971
525. High-relief bust portrait of
4972
Henry Mackenzie
4973
20.5 cms. (height of bust); 25.5 cms. (diameter of backplatc)
4974
Bronze with a very dark slightly olive patina. The bust is hollow cast
4975
and soldered to the backplatc. There are small firing cracks in the
4976
lower part of the neck and minor scratches to the back plate. `HENRy
4977
MACKENZIE' is chise[led in capital letters beneath the bust on the
4978
plate ground. On the reverse of the plate are engraved in neat capital
4979
letters: `SAML JOSEPH SCULPSIT / S. PARKER FECIT XIT ARGYLL
4980
PIACE / PUBLISHD / AS THE ACT DIRECTS / LONDON FEBY
4981
VI. / MDCCCXXX' .
4982
The bronze is kept in the Heberden Coin Room as part of the
4983
collection of medals purchased from Colonel Michael H. Grant in
4984
1953. It is included in his catalogue on p.153.
4985
There is a bust of the Scottish novelist and man of letters
4986
Henry Mackenzic ( 1745-1831 ) by Joseph at the Scottish
4987
National Portrait Gallery which is dated 1822 (R. Gunnis,
4988
Dictionary Of British Sculptors (London, ±968), 222) .I+ is
4989
similar to this but undrapcd and differently cut at the
4990
shoulders. By 1825 a bust of Mackenzie by Joseph belonged
4991
to Sir Walter Scott at Abbotsford (C. Wainwright, 777c
4992
Ro7„¢#£¢.c J»£Gr¢.or (London and New Haven, Conn.,1989),
4993
@@PROCESS
4994
190). 1822 is also the year in which Joseph exhibited a `model
4995
for a bust to be worked in marble' of Mackenzie at the Royal
4996
Academy (no.1044). The portrait of scott reproduced in a
4997
simhar bronze cast which is also dated 1830 (No. 524)
4998
perhaps also originated in a model of 1822. Little is known
4999
of the bronze founder Packer. He was paid in 1822 for a
5000
sumptuous chimney-piece in the Royal Pavilion, now at
5001
Buckingham Palace, involving ormolu enrichments and
5002
Chinese figures of painted metal (Gunnis, op. cit. 291 ). His
5003
smau bronze herm busts of I.ord Brougham and William IV
5004
both published in 1831 are in the National Portrait Gallcry-another
5005
version of the latter was lot I, Christie's, London, 5
May 1988.
5007
BRITISH SCULPTURES, BY ARTIST'S NAME
5008
Samuel JOSEPH ( 1791-1850)
5009
@@PROCESS
5010
526. Sir David Wilkie
5011
68 cms. (height, including plinth)
5012
Plaster of Paris, coated with shellac and grey paint. Hollow cast.
5013
The paint has flaked in some areas, most notably on the proper
5014
right foot and the front of the plinth. A part of the palette has been
5015
broken off and refixed but small chips are missing. There is another
5016
break diagonally across the plinth from beside the proper right foot
5017
to the centre of the back.
5018
Presented in 1952 by Sir Malcolm Darling of 42 Catherine Place,
5019
Ijondon Swl. Registered on 16 April. It was probably inherited
5020
from the donor's grandfather Dr George Darling (d.1862), who
5021
counted Wilkie and other artists (among them Haydon, I.awrence,
5022
and Chantrey) among his ffiends and patients.
5023
Joseph exhibited a posthumous marble bust of wilkic, a fellow
5024
Scot, at the Royal Academy exhibition of 1843 (no.1515).
5025
This is now in the Scottish National Portrait Gallery
5026
(no.1220). In the following year the colossal bronze statue
5027
of wilkic by him was presented by subscribers to the National
5028
Gallery-this was transferred to the Tate Gallery (no.1764)
5029
where it is in store. The commission for this bronze is
5030
dcscribcd in an appendix to Alan Cunningham's I,¢re a/S¢.7'
5031
D¢p¢.¢ WG./fe;c (I.ondon,1843), iii. 516-23. He quotes from
5032
the 44lo7w¢.#g C¢ro"¢.c/;s account of the meeting on 28 August
5033
1841 at the Thatched House Tavern at which a committee
5034
was fomed to erect a monument. Cunningham was
5035
appointed secretary. A footnote on p. 523 informs us that `at
5036
a subsequent meeting Mr S. Joseph, not without opposition,
5037
was selcctcd to execute the statue, the trustees of the National
5038
Gallery having consented to its erection in their entrance
5039
hall'. The plaster probably records the prclininary clay model
5040
made for the committee's approval.
5041
REiH±HI
5042
@@PROCESS
5043
108
5044
Eric RENNINGTON RA ( i888-1960)
5045
@@PROCESS
5046
527. Head from the portrait of
5047
Thomas Hardy
5048
31 cms. (height)
5049
Bronze with a chestnut patina rubbed to a yellow brown in the
5050
eyebrows and on the bridge of the nose. Hollow, lost-wax, cast.
5051
Given by the artist at an unrecorded date.
5052
The portrait is cut off uncompromisingly at the shirt collar to
5053
emphasize that it is a fragment of a full-length statue. It must
5054
indeed bc cast from the same model as the statue of Hardy
5055
unveiled on Sunday 2 September 1931 at Top o' Town,
5056
Dorchestcr, by Sir James Barrie, a work erected by public
5057
subscription ( supported by the mayor of Dorchester,
5058
Alderman Wilfrid F. Hodges, with a committee chaircd by
5059
the countess of Ilchestcr). Kennington was at this date at the
5060
height of his fame, having excited attention with his war
5061
memorial erected in Battersea Park in 1924, and obtained
5062
the commission for allegorical scenes on the fa€ade of the
5063
Royal Shakespeare Theatre at Stratford-upon-Avon, a work
5064
upon which he was engaged between 1928 and 1932.
5065
Kennington had placed a plaster cast of his recumbent effigy
5066
of Lawrence of Arabia for St Martin's, Wareham, on
5067
temporary loan in the Museum during the winter of 1939
5068
(A„""a/ Rcpo77, 36). Ion Robcrtson applied in vain to the
5069
National Art-Collections Fund in October 1963 for funds to
5070
purchase, from the Leicester Gallery, a bronze cast (one of
5071
an edition of 12) of a maquette for the same effigy.
5072
BRITISH SCULPTURES, BY ARTIST'S NAME
5073
A. KENRICK (dates unknown)
5074
@@PROCESS
5075
528. Profile medallion head of
5076
Queen Victoria
5077
24.5 cms. (height); 38.5 cms. (diameter of backplate)
5078
The head is of iron with a slightly rusty surface. It is a heavy sand-cast,
5079
probably hollow on the reverse. The head is bolted to a
5080
polished bronze backplate with a high polish which has been slightly
5081
scratched. This has bccn coarsely palntcd in large black capitals on
5082
its reverse `BY / A. KENRICK / BIRM: ' .
5083
The sculpture is kept in the Heberden Coin Room as part of the
5084
collection of colonel Michael H. Grant, purchased in 1953.
5085
In Britain during the nineteenth century there were numerous
5086
attempts at casting in iron sculpture which would normally
5087
have been reproduced in bronze, but few of these casts even
5088
approached the quality associated with the royal foundry in
5089
Berlin and certainly this portrait, presumably dating from the
5090
last three decades of the century (to judge by the appearance
5091
of the queen), is as dull as a cast as it is routine as a model.
5092
It is dated to 1887 in Grant's manuscript catalogue (p.185).
5093
@@PROCESS
109
5095

                
5096
BRITISH SCULPTURES, BY ARTIST'S NAME
5097
Bryan ENEALE (b.1930)
5098
@@PROCESS
5099
529. Trio
5100
15.I cms. (length)
5101
Bronze with a mottled brown to yellow patina. Unique solid cast,
5102
sawn and reassembled. The cut surfaces retain the tcxturc of the
5103
saw. The curved outer surfaces retain evidence of the rotatory
5104
polisher. Stanpcd `B.K.' in an irregular portion of inserted metal
5105
on the outside of the smallest of the three principal pieces.
5106
From the collection of Christopher Hewett ( 1938-83). Given to
5107
the museum by his family in June 1985 and included in the
5108
exhibition celebrating the Sft held in the MCAlpinc Gallery in January
5109
and February 1987. Kneale had exhibited nineteen sculptures at the
5110
Taranman Gallery in June and July 1977.
5111
Kneale stopped work as a painter in 1959 and, after learning
5112
to weld, moved to a forge in Fulham in 1960, and began to
5113
make abstract sculpture, working directly and with the latest
5114
technology in stccl, and subsequently brass, gunmetal, and
5115
bronze. Notes made at the time the Hewett Collection was
5116
first discussed dated this work to 1979. There is an instructive
5117
interview between the artist and Bryan Robertson pubhshed
5118
in the catalogue of the exhibition Bry&# KceG¢/G.. Sc#/Pf#7icf
5119
J959-j966 at the Whitcchapel Art Gallery 1966 and a profile
5120
of the sculptor by John Spurling entitled `Working from
5121
Within' appeared in RA, the magazine of the Friends of the
5122
Royal Academy (Sept. 1988), 27-8.
5123
Ilo
5124
BRITISH SCULPTURES, BY ARTIST'S NAME
5125
LEEDS POTTERY (Hartley, Greens and Co. )
5126
@@PROCESS
5127
530 and 531. Pair of vase
5128
candlestands
5129
31.7cms. (height of both); 16.6cms. (length from nose to nose
5130
of hcrm maidens); 8.9 cms. (length and width of plinths)
5131
Creamware with a glaze, which is green where gathered in the swags
5132
and at the top of the stems (especially on 530). Each vase was
5133
assembled from five separately cast components before firing: the
5134
plinth (closed when inspected from below); the stem; the body of
5135
the vase (made from two large and two small moulds-the smaller
5136
ones comprising the two maidens); the domed cover; the terminal
5137
ball knob. The wings of the maidens and the cinquefoil rosettes on
5138
the projections of the comers of the plinth were separately modelled
5139
and applied before firing. Each vase has two square slots behind the
5140
necks of the maidens. The aperture is approximately I cm. square
5141
and continues for about 3 cms. before entering the hollow body of
5142
the base. There are minute chips missing from the end of the proper
5143
left wings of one of the maidens on No. 531 and from one corner
5144
of the plinth of the other. There is a minute firing crack in the
5145
cheek of one of the maidens on No. 531 and a crack in the neck of
5146
one of the maidens on the other. On both vases vestigial seams may
5147
be discerned on the stem and its base moulding and down the arms
5148
of the maidens. The vases are incised inside the plinths with a `1'
5149
(a slight tall attached) and a `6' (possibly a `9'). `C. /467/ G' and
5150
`C. / 468 / G' is written in black paint in both.
5151
I,cnt by C. D. E. Fortnum in October 1894 and bequeathed in
5152
1899. C. 467 and C. 468 in his catalogues. No provenance or date
5153
of acquisition is given in his catalogues but the vases seem to have
5154
been acquired after 1857 when the preliminary catalogue, in which
5155
they are not included, was compiled.
5156
Fortnum regarded these vases as `Roman Volpato about 1800'
5157
although he was aware of a connection with a British ceramic
5158
factory, noting in his large catalogue `The form is copied or
5159
adapted from a Chelsca modcl'. C. F. Bell annotating the
5160
large catalogue observed that
5161
the form, whatever its origin, was copied both at Derby-in
5162
porcelain-nd at I,eeds in pottery. Sir Wollaston Franks did not
5163
feel sure that they were Italian, did not see any reason why they
5164
should not be English. The exact resemblance of the glaze, with
5165
the strongly marked greenish tinge visible where it has coagulated,
5166
to that upon the group of st. Joseph is however in favour of these
5167
having been made at Volpato's factory.
5168
The resemblance to the Sf/ofcp¢ (No.107 and marked as by
5169
Volpato) is indccd remarkable. `Professor Church', Bell
5170
continues, `carefully examining (February 1903 ) the similar
5171
vase in the V 8c A and yet another of the same pattern sold
5172
as Liverpool ware at Christic's (Feb. 27 1903) expressed a
5173
decided opinion that they were of inferior quality, from a
5174
technical point of view, to English work giv were probably all
5175
of Roman manufacture.' Church was wrong, however, and
5176
Bell, in his H¢»dhoofe G„¢.de of 1909 (p. 99), described the
5177
vases as `probably English, Staffordshirc or Yorkshire make'.
5178
The vase in the Victoria and Albert Museum (838-1870),
5179
Which matches the Ashmolean's vases in every respect except
5180
the green tinge to the daze, is marked LP for Leeds Pottery
5181
and the model appears in the Lccdr Po#Gry P4r#Grce Boofe (first
5182
edition of 1783nd; no.116 in the edition of 1794), as well as
5183
in the albums of drawings kept by the pottery, as is recorded
5184
in the entry for the vase of this type (perhaps the one sold at
5185
Chistie.s .\n \903) .in the Catalo2que Of creammare and Other
5186
English Pottery at Tem2le Non!sam Hott§e, Ijeedsdy Pevf=[
5187
Walton (Bradford and I.ondon, 1976), 126-7, no. 489.
5188
In none of the four recorded versions of the vase have the
5189
slender S-curved branches of twisted form supporting fluted
5190
nozzles illustrated in the 1794 catalogue survived. They would
5191
have been fitted into the slots behind the winged maidens'
5192
necks. Such fragile projections and the relative lightness of the
5193
supporting body make the whole conception somewhat
5194
unsuitable for its purpose and strongly suggest its derivation
5195
from a model in stone and ormolu. The terminal maidens
5196
and indeed the band of anthemion suggest Slt ornaments
5197
applied to and apparently clasping a solid body of white
5198
marble or blue-john. The idea of a vase which served also as
5199
a candlestand was very popular with Matthew Boulton and
5200
the ultimate source for these Leeds vases may well be the
5201
`Caryatid Vases' in blue-john and ormolu which his Soho
5202
factory made in the early 1770s. The same form of handle is
5203
used in Derby porcelain, most notably in the Gibraltar Vase
5204
of c.1785, and on agate ware vases of chalice form impressed
5205
`WEDGW00D'-xamples are in the Brighton Art Gallery
5206
and Museum and in the City Art Gallery and Museum,
5207
Birmingham (2809.'85)-and on black basaltcs vases of
5208
similar egg form, but not designed for candles, impressed
5209
`WEDGWOOD AND BENTLEY'-xamples are also in
Birmingham ( 1761.'80 and 2746.'85).
5211
BRITISH SCULPTURES, BY ARTIST'S NAME
5212
@@PROCESS
5213
112
5214
BRITISH SCULPTURES, BY ARTIST'S NAME
5215
Unknown foundry
5216
After Frederick, I.ord LEIGHTON, PRA ( 1830-96)
5217
@@PROCESS
5218
532. Athlete stniggling with a
5219
python
5220
54.3 cms. (height including integral bronze plinth); 4.5 cms.
5221
(height of plinth); 29.5 cms. (length of plinth); 20.7 cms. (width
5222
of plinth)
5223
Bronze with a dark green and brown patina. Hollow, sand-cast. No
5224
joins are apparent. `F. LEIGHTON 1877' is chiselled on the proper
5225
left face of the bronze plinth.
5226
Bequeathed by the Revd J. W. R Brocklebank in November 1926.
5227
No. 33 in the receipt prepared by Andrew Shirley in January 1927,
5228
as `Hercules struggling with a Cobra'.
5229
It is not certain when I.cighton began to make small clay
5230
skctchcs in preparation for his large figure compositions, but
5231
the group of studies for his painting D#phacp4ori¢ (Ledy
5232
Ijcver Art Gallery, Port Sunlight) of 1874nd arc the earliest
5233
sculptures by him to have survived. The idea of this figure of
5234
the A£4/GfG is said to have come to him at that date-perhaps
5235
with the heroic nude male struggling with snakes in the
5236
foreground of Titian's B¢cc¢G¢f ¢»¢ Ar¢.¢¢„c in the National
5237
Gallery half in mind. He made a sketch about 9± inches high
5238
of which several casts in plaster and bronze survive (one such
5239
in plaster is in the Victoria and Albert Museum, A. 38-1954).
5240
Jules Dalou (see Nos. 269-73) who had suddenly shot to
5241
fame in England encouraged Leighton to execute the figure
5242
life-size. The model was prepared over the winter of 1874-
5243
5, using Angelo Colorossi as model, in the studio of Thomas
5244
Brock, a protege of Leighton, who gave some assistance. This
5245
large version was cast in bronze in December 1876 and
5246
exhibited at the Royal Academy in the following summer
5247
when it was purchased for the Tate Gallery out of the Chantrey
5248
Bequest (No.1754, on loan to Leighton House). The bronze
5249
was shown at the International Exhibition in Paris in 1878
5250
and awarded a Gold Medal. A marble version of the origival
5251
plaster was presented to the Royal Academy in 1886. The
5252
bronze reductions seem to have been made in large numbers
5253
and arc in many public collections including the Walker Art
5254
Gallery, Liverpool, the City Art Gallery, Birmingham, and
5255
the National Museum of wales. (See R and L. Ormond,
5256
Io7id lrf?¢j¢fo„ (New Haven, Conn., and London,1975),
5257
@@PROCESS
5258
934, 162-3; S. Beattie, 7%e N¢ia7 Sc#/Pf„7.c (New Haven,
5259
Conn., and I.ondon,1983), 260, n. 53.) Some of the casts
5260
arc chiselled not only with the artist's mmc and the date, as
5261
here, but with a Roman numeral and the following `puBD By
5262
ERNEST BROWN & PHILLIPS / AT THE LEICESTER GALLERIES
5263
LEICESTER/ SQUARE, LONDON.' (See for instance Christie's,
5264
London, 25 Scptcmbcr 1986, lot 173, numbered XXVI,
5265
subsequently with the dealer Peter Nahum of 5 Ryder Street. )
5266
A plaster version of no special quality but inscribed `Given to
5267
me by Leighton about two months bcforc he dicd', followed
5268
by the monogram of Thomas Armstrong the painter, was lot
5269
@@PROCESS
5270
230 at Sothcby's, I.ondon, 16 December 1987.
5271
@@PROCESS
113
5273

                
5274
BRITISH SCULPTURES, BY ARTIST'S NAME
5275
Foundry of J. W. Singer and Son, Frome, Somcrset
5276
After Frederick, Ijord LEIGHTON, PRA ( 1830-96)
5277
@@PROCESS
5278
533. The Sluggard
5279
52.2 cms. (height including integral plinth); 3.5 cms. (height of
5280
plinth); 16.5 cms. (length of plinth); 14.7cms. (width of plinth)
5281
Bronze with a chestnut to dark brown patina. Hollow, sand-cast.
5282
The separately cast plinth reveals when reversed the iron armature
5283
from the interior of both legs. `THE sLUGGARD' is chisellcd on the
5284
front face of the bronze plinth. `FoUNDED By I. W. slNGER &
5285
SoNS / FROME SoMERSET.' is chiselled on the proper left face of the
5286
bronze plinth. `Fred Leighton' is incised in the model across the
5287
proper right back comer of the plinth on the upper surface.
5288
Bequeathed by the Revd J. W. R Brocklebank in November 1926.
5289
No. 32 in the receipt prepared by Andrew Shirlcy in January 1927,
5290
as `A Statuette Nude Male standing stretching his arms . . . by Fred
5291
Leighton.'
5292
Ijci\givton' s Athlete avdeening fhom sleeping (to give it its
5293
origival title), said to have origivated in the sight of his model
5294
Giuseppe Valona stretching after a sitting, existed as a model
5295
by 1882 but was only exhibited as a life-size figure at the
5296
Royal Academy in 1886 (no.1921). The origival plaster
5297
(perhaps the figure then exhibited) was prescntcd to the
5298
Royal Academy by the artist's sisters in 1896. A bronze cast
5299
was acquired at the artist's studio sale (8-10 July 1896, lot
5300
@@PROCESS
5301
107b) by Henry Tatc and presented to the Tate Gallery. It is
5302
now on loan to Leighton House. (R and L. Ormond, Iond
5303
@@PROCESS
5304
114
5305
I€¢j¢fo# (New Haven, Conn., and I.ondon,1975),167.)
5306
The statuette reproduces a `rough sketch in plaster' perhaps
5307
of 1882. The edition must have bccn very large and versions
5308
are very common. Many arc chiscllcd `Publishcd by Arthur
5309
Leslie Collie / 398 Old Bond Strcct London' with the dates
5310
6 May 1889 and 1 May 1890, as well as with the name of
5311
Singer's foundry. Collie evidently sold the copyright to the
5312
founders whose catalogue, of about 1914, fcaturcs a cast
5313
`from the signed model, by the late I.ord I.cighton, of which
5314
wc hold the copyright' (cited by S. Bcattic, T77e N,ov Sc#/pf#7c
5315
(New Haven, Conn., and I.ondon, 1983), 260 n. 59). When
5316
the founder's name only appears, thcrcfore, as in this case, the
5317
cast is likely to be later. A cast stamped `M' and given by
5318
Morris Singer to a friend in 1936 was sold at Sothcby's,
5319
I.ondon, 16 December 1987. It is possible that casts were
5320
still being made at that date. An idea of what was considered
5321
as an appropriate setting and pedestal for the figure may be
5322
obtained from an illustration to an article by Edmund Gosse
5323
on small domestic bronzes in A4l¢g¢z¢.72e a/47? ( 1895), 372
5324
(reproduced in S. Beattie, op. cit. 190). The patina of this
5325
bronze is often a very pale golden brown as in the version in
5326
the Victoria and Albert Museum (820-1901). The
5327
personification of sculpture in Brock's monument to Ileighton
5328
in St Paul's Cathedral holds a diminutive version of this
5329
figure.
5330
BRITISH SCULPTURES, BY ARTIST'S NAME
5331
Richard Cockle LUCAS ( 1800-83)
5332
@@PROCESS
5333
534. Bust portrait of a boy
5334
33 cms. (height); 9 cms. (height of socle)
5335
Wax, ivory in colour on the chest but yellow on much of the face.
5336
Thcrc are cracks across the proper right side of the chest and the
5337
neck. The bust has also been broken into pieces and rejoined with
5338
a ccmcnt some of which has fallen out-the lines of the join are
5339
clear in front of the proper left ear and into the hair, also behind
5340
the neck and in the hollow behind the chest. The surface is dented
5341
and scratched and much surface dirt has gathered in these hollows
5342
as well as in cracks and joins. The bust is mounted on a turned and
5343
waisted socle of ebonized wood which cannot be origival.
5344
Bequeathed by Mrs Leverton Harris in 1939 together with the
5345
VG.7ig¢.» ¢"d Cb¢./d after Sansovino (No. 85).
5346
The bust was acquired as a work by Lucas and the attribution
5347
is likely to have come from the family of the boy depicted:
5348
there seems no reason to question it. Lucas exhibited at the
5349
Royal Academy betwccn 1829 and 1859 but it is seldom
5350
possible to know for certain whether the works he exhibited
5351
were of wax, ivory, clay, plaster, or marble in all of which
5352
media he worked. A `modcl of a child' was exhibited by him
5353
in 1830 (no.1130) and in 1833 a `Bust of Miss Bury,
5354
daughter of I.ady Charlotte Bury', but child portraiture seems
5355
not to have been a specially important category for hin.
5356
Lucas is now chiefly remembered in connection with the
5357
Berlin I/o#¢. Wilhelm von Bode published this as a work by
5358
Leonardo but it was claimed that Lucas made it and it had
5359
certainly been in his studio. See F¢&c? 7Z7c A# a/D#Gpf¢.o#,
5360
cd. Mark Jones, British Museum (I.ondon, 1990), 303-7.
5361
@@PROCESS
115
5363

                
5364
BRITISH SCULPTURES, BY ARTIST'S NAME
5365
RIchard Cockle LUCAS ( 1800-83)
5366
@@PROCESS
5367
535. Bust portrait of D. C. Read
5368
77.2 cms. (height including socle)
5369
Plaster of Paris, covered with a light coat of pale grey paint now
5370
discoloured to a brown grey. Thick walled, hollow cast. There are
5371
vestigial seams in the top of the head. Chips are missing to proper
5372
left of edge of chest. `D C READ' is scratched in the surface of the
5373
supporting trunk of plaster rising from the socle through the hollow
5374
of the back.
5375
Given by Chambers Hall in 1855. Added at the end of the list of
5376
his gift on page 47 of the University Gallery's Donations Book
5377
( 1842-1906) as `A model Bust of D. C. Read by Lucas'. The manner
5378
in which it is added to the list, together with a folio volume of
5379
pencil sketches, presented by Read's widow, shows that the bust
5380
arrived after the rest of the gift, indeed after Hall's death later in
5381
1855. In the Department's accounts there is a payment of fl for `a
5382
Box from Mrs Reed [f¢.c] containing a bust' recorded under June
5383
1856. A letter from Mrs Read of 11 July 1855 mentions that Mr
5384
Hall wishes to send the bust and that she would like it to be safe
5385
in Oxford-`he bids me tell you that it is not a plaster cast but a
5386
solid terracotta study from the life, and sculptured by Lucas, and
5387
as a favour to Mr Read he charged 15 guineas for it'.
5388
D. C. Read ( 1790-1851) was a painter and printmaker who
5389
was a close friend of Chambers Hall. The distinguished
5390
collection of works of art which Hall gave to the University
5391
Galleries also included 118 etchings and 17 oils by Read.
5392
Rcad's wife Charlotte was evidently instrumental in directing
5393
Hall's collection to Oxford. She was personally responsible
5394
for its packagivg and transportation and for all correspondence
5395
with the University Galleries concerning it. Read and his wife
5396
are buried beside Hall at Boldrc in Hampshirc (infomation
5397
from a descendant of the Read family, Mr E. Stone of 186
5398
Clements Road, East Ham, I.ondon). There seems also to
5399
have been a wax bust by Lucas of Read. In his will, proved
5400
30 August 1851, Read bequeathed this to his second son
5401
Charles John Read and from him it passed to George Sidney
5402
Read, barrister, who left it to Edward Read Davies in whose
5403
possession it seems to have been in the early years of this
5404
century. That this was a small bust is clear from an earlier whl
5405
dated 13 October 1845 in which Read wrote that he gave to
5406
his friend William Martin Coates Esq. `the small bust of myself
5407
modeued in wax by Lucas the sculptor'-this he revoked
5408
when drafting the will of 14 May 1851, giving it instead to
5409
his second son. (Information on these wills has kindly been
5410
communicated by Mr Stone.) Gunnis's statement that the
5411
Ashmolean's bust is of wax is presumably based on the
5412
erroneous assumption that Lucas's portraits wcrc always in
5413
this material. For Lucas see also No. 534.
5414
@@PROCESS
5415
116
5416
BRITISH SCULPTURES, BY ARTIST'S NAME
5417
RIchard Cockle LUCAS ( 1800-83)
5418
@@PROCESS
5419
536. Circular medallion profile bust
5420
portrait probably of Chambers Hall
5421
13.8 cms. (diameter); 8 cms. (depth)
5422
White wax. There are chips missing at the rim, also evidence of
5423
cement and old adhesive. A portion of the wax at the rim between
5424
7 and 8 o'clock is loose. Set in a circular ebonized wooden frame
5425
with a gold slip. The frame is inscribed in gold letters below with
5426
the artist's name and dates and above `SIR HENRy RAWLINSoN' and
5427
`cHAMBERS HALL GIFT'. Endorsed in black paint on the canvas
5428
backing `CHAMBERS HALL ESQ. / PROBABLy By/ R. C. LUCAS'. The
5429
`Probably' has been deleted and the note added in ink: `Mentioned
5430
as his in Mrs Rcad's / list sent with the Chambers Hall / Collection
5431
1855,.
5432
Probably part of the gift of Chambers Hall in 1855.
5433
The earliest inscription on this portrait presumably identifies
5434
it as a portrait of Chambers Hall, the collector (for whom
5435
see No. 535) and the authority of this is strengthened by the
5436
admission of doubt concerning the artist. It must correspond
5437
with the `medallion likeness of Mr Hall by Lucas' which is
5438
no. 7 in the list of `pictures' from Hall's collection described
5439
by Charlotte Read as sent off to Oxford in a letter of 2 Apul
5440
1855.
5441
There must have been some confusion with the portrait of
5442
Rawlinson by Lucas which was known to be in the Museum,
5443
and someone decided to make everything clear by gold
5444
inscriptions on the frame. Meanwhile, however, the portrait
5445
of Rawlinson, presumably because it was a portrait of an
5446
archaeoloSst, was in the care of the Department of
5447
Antiquities. There is no resemblance between the two profiles.
5448
On the other hand this portrait does resemble other portraits
5449
of Hall. And it docs resemble some work by Lucas-scc, for
5450
instance, the portrait of Lewis Rcndel of 1851 in the
5451
Wenholme Gaueries, Grimsby. For Lucas see also Nos. 534
5452
and 535.
5453
@@PROCESS
117
5455

                
5456
BRITISH SCULPTURES, BY ARTIST'S NAME
5457
RIchard Cockle LUCAS ( 1800-83)
5458
@@PROCESS
5459
537. Oval medallion profile portrait
5460
head of Sir Henry Rawlinson
5461
19.5 cms. (height of wax); 15.2 cms. (width of wax); 16.8 cms.
5462
(height of wax visible); 13 cms. (width of wax visible); 13.8 cms.
5463
(height of head)
5464
The head is in white wax against a background of chocolate brown
5465
wax. The upper part of the background has warped, crinkled, and
5466
blistcred from accidental exposure to heat (perhaps the hot water
5467
pipes which were installed in the last decades of the last century).
5468
Set in a rectangular plaster surround, covered with vclvct (now a
5469
mustard yellow colour but revealed, under the frame, as origivally
5470
burgundy), and given a dlded wooden frame with composition
5471
foliate scrolls. `R C. Lucas / Sculp.' is funtly incised in an elegant
5472
cursive script in the wax below the cutting of the neck. In cuneiform
5473
script behind the head a text is boldly inscribed (partially distorted
5474
by the heat damage) below which these words are lightly scratched
5475
(as a translation) in elegant cursive script: `1 crossed
5476
the / Euphrates'. Attached to the pine backing of the frame is an
5477
old label `Sir Henry Rawlinson 1810-1895 / Diplomatist, Soldier,
5478
Orientalist / R C Lucas fecit.'
5479
Provenance unrecorded.
5480
Sir Henry Creswicke Rawlinson Bt. ( 1810-95) is described
5481
as the `Fathcr of Assyriology'. His interests in the subject
5482
developed during his military service in Iran and Afthanistan
5483
between 1833 and 1844. At considerable personal danger he
5484
transcribed the great rock inscription of Darius I in Western
5485
Iran the text of which was published by the Royal Asiatic
5486
Society. The portrait looks as if it should be dated to the
5487
1840s or 1850s on the uncertain evidcncc of the sittcr's
5488
apparent age and there are no stylistic reasons for doubting
5489
this. The setting of the portrait in an imitation of an early
5490
eighteenth-century French frame is typical of the mid-nineteenth
5491
century but the improvised manner in which it
5492
has been done here suggests that the artist did not supervise
5493
it. For Lucas see also Nos. 534nd.
jJAI-
5495
BRITISH SCULPTURES, BY ARTIST'S NAME
5496
Foundry of E. Gruct, 44 avenue de Chatillion, Paris
5497
After Sir Edgar Bertram MACKENNAL Kcvo, RA ( 1863-
5498
1931)
5499
@@PROCESS
5500
538. Diana wounded
5501
36.9 cms. (height)
5502
Bronze, highly polished, with a dark brown and dark green patim.
5503
Hollow, sand-cast in several pieces (see below). `8 Mackennal' with
5504
no stops and a tall to the last letter underlining the last part of the
5505
name, with the date `1905' above, is incised in the model on the
5506
integral naturalistic base to proper right of the figure. Within the
5507
hollow base are evident the iron armatures for the legs, a paper label
5508
in the shape of a heart inscribed `HH4', and the seal of the founder:
5509
`E GRUET JEUNE FONDEUR 44 AVENUE DE CHATILLION'.
5510
Bequeathed by the Revd J. W. R Brocklebank in November 1926.
5511
No. I I in Andrew Shirley's receipt of January 1927.
5512
A cast of this statuette was exhibited in 1906 at the Royal
5513
Academy Exhibition (no.1648). A larger version, a `statue',
5514
presumably of plaster, was exhibited there in 1907 (no.1841 ),
5515
and a statue in marble at the Exhibition of 1908 (no.1974)
5516
which was purchased out of the Chantrey Bequest Fund (Tatc
5517
Gallery, in store). The bronze statuettes exist in great
5518
numbers. They differ from the marble in the trcatmcnt of the
5519
hair and the creasing of the belly, and do not employ the
5520
tree-trunk support. In some bronzcs divisions may be
5521
discerned in the upper part of the figurc's right thigh and
5522
right arm (as in version which was lot 93 at Christie's, Ijondon,
5523
24 September 1987), but none is visible in this case. Gruet's
5524
stamp is not always concealed: it is sometimes placed below
5525
the signature (as in the example just cited and in another
5526
bronze sold at Sotheby's, I.ondon, I October 1986). The
5527
method of securing the feet to the base also varies. The Gruct
5528
foundry cast work for Macmonmies and Saint-Gaudcns, so it
5529
was used to taking orders from abroad (Mackennal had
5530
settled in I.ondon by this date). At least one other Parisian
5531
foundry cast this model: some casts arc chiselled at the lowest
5532
part of the base below the signature `HOHWILLER FONDEUR
5533
(see, for example, Christic's, I.ondon, 29 September 1988,
5534
lot 253).
5535
What M. H. Spielmann observed of Mackennal in his
5536
British Scttlpture and Scttl2tors Of To-Day (Tcondon, L90L) ,
5537
@@PROCESS
5538
135, seems particularly pertinent in connection with this
5539
figure: `a good deal of Mr Mackcnnal's elegance seems to
5540
have been instilled into him in Paris'. However, his inspiration
5541
must have been German sculpture in which the motif of the
5542
twisted nude reaching down to his or her lower leg was so
5543
commonly repeated in the first years of the twentieth century:
5544
the S¢"d¢/4¢.#dcr of 1901 by Nikolaus Friedrich ( 1865-
5545
1914), the S¢#d¢/4¢.#de7?.7e of 1901 by August Kraus ( 1868-
5546
1934), the B¢dcde A4l¢dc¢c7c of 1902 by Wilhelm Lehmbruck,
5547
and the S¢»de/c„b¢.„der¢.# of 1906 by Arthur Lewin-Funckc
5548
are all sinflar (8. Hffler, R¢e¢.7¢/¢7¢¢ We:for#/c" #"d ¢¢.c
5549
Berliner Bildhanerschule des 19. jahrhunderts (Modelne
5550
Galerie, Quadrat Bottrop, and Schloss Cappenbcrg, 1984),
5551
@@PROCESS
5552
113,150,165,166).
5553
@@PROCESS
119
5555

                
5556
BRITISH SCULPTURES, BY ARTIST'S NAME
5557
BRITISH SCULPTURES, BY ARTIST'S NAME
5558
Sir Edgar Bertran MACKENNAL Kcvo, RA ( 1863-1931 )
5559
@@PROCESS
5560
539. Sappho
5561
28.7 cms. (height including integral base); 23.8 cms. (length of
5562
integral base); 16,5 cms. (width of integral base); 6.4 cms. (height
5563
of plinth); 25.9 cms. (length of plinth); 20 cms. (width of plinth)
5564
White Carrara marble. Chiselled to proper left of the integral
5565
naturalistic base `8 Mackennal' with no stops and a tail to the last
5566
letter underlining the last part of the name. Mounted on a plinth of
5567
pale green slightly banded onyx.
5568
Presented by the sculptor's daughter Mrs C. A. Kraay in 1952, the
5569
year in which her son Colin Mackennal Kraay became an Assistant
5570
Keeper in the Hebcrden Coin Room. Registered (on 13 November)
5571
and listed in the A#7¢#¢/ RGPo# ( 1952), 48, as `Scated Female
5572
Figure'.
5573
The statuette was exhibited at the Royal Academy Exhibition
5574
in 1909 (no.1836, S¢¢pfro, illustrated in Rayro/ Ac¢deny
5575
P¢.cf#71cJ ( 1909),121 ). It seems to have rcmaincd in the artist's
5576
possession (unless more than one version of it was carved) for
5577
it was included in the Fine Art Society's Memorial Exhibition
5578
Of Stati4ettes ky the Late Sir Bertram Macheunal .in May \932
5579
(as no.I ), and was exhibited in the Co7„oweowo7fl}fG.pc
5580
Eichibition Of. Works ky Late Members cLt che Ttoval AlcaLderny
5581
in the following year (no. 802, lent by Lady Mackcnnal). The
5582
theme of a compact female nude seated or crouching,
5583
wrapped in thought, was popular in the French sculpture with
5584
which Mackennal, who had worked in Paris in Rodin's studio
5585
in the early l880s and again in the 1890s on his rctum from
5586
his native Australia, was very finiliar. S¢4pfo may be regarded
5587
as a version of Dalou's Ve'7¢.fg' owc'co7¢»"G (probably cxecutcd
5588
in the l890s and available from 1903 in 4¢.fc#G.£ de Sforcf as
5589
well as bronze) only tidier in form and less desperate in
5590
emotion. Closely related works are the B¢#¢c7' of 1904 by
5591
Bcla Lyon Pratt (reserve collection, Fogg Art Museum,
5592
Harvard University,1939.308) and the nude by Constantin
5593
Dimitriadis, also dated 1909 (versions of both this and the
5594
Dalou were lots 153 and 154 at Christie's, I.ondon, 28
5595
January 1988, illustrated). A bronze by Mackcnnal with the
5596
same title as this was exhibited at the Royal Academy in 1921
5597
(no.1195). It is entirely different in conception and represents
a nude woman leaning back against a rock.
5599
BRITISH SCULPTURES, BY ARTIST'S NAME
5600
@@PROCESS
5601
122
5602
BRITISH SCULPTURES, BY ARTIST'S NAME
5603
Unknown foundy
5604
After Sir Edgar Bertram MACKENNAL Kcvo, RA ( 1863-
5605
1931)
5606
@@PROCESS
5607
540. King George V in naval
5608
uniform
5609
20.5 cms. (height); 6 cms. (height of marble base)
5610
Bronze, with a brown patina. Hollow, probably lost-wax, cast.
5611
Incised `8. Mackennal' in the model across the base of the hollowed
5612
back. Bolted to a block of black marble, cubic but with a curved
5613
front face.
5614
Given to the Hcberden Coin Room in 1982 by Mrs Kraay, in
5615
memory of her husband Colin Mackennal Kraay (b.1918; d. 27
5616
January 1982; Keeper of the Coin Room 1975-82) who was the
5617
sculptor' s grandson.
5618
Mackennal's contacts with the royal family had been
5619
established by his work first on the coronation medals for
5620
George V and Queen Mary in May 1911. He was then chosen
5621
to mckc both the equestrian statue of King Edward VII for
5622
Waterloo Place and the recumbent effigy for Windsor.
5623
Another version of the bust was in the collection of Sir Leon
5624
and Iddy Trout (sold Christie's, at their home, Everton Park,
5625
Brisbane, 6-7 June 1987, lot 63a). This was dated 1911 and
5626
was mounted on a tapering chamfercd marble pedestal with
5627
ormolu mounts (53 cms. in height with the bust) which must
5628
have been dcsigncd by or for the sculptor. This bust with
5629
pedestal (or an identical repetition) was lot 102 at Sotheby's,
5630
Ijondon, on 30 March 1990.
5631
@@PROCESS
123
5633

                
5634
BRITISH SCULPTURES, BY ARTIST'S NAME
5635
Unknown foundry
5636
After Sir Edgar Bertram MACKENNAL Kcvo, RA ( 1863-
5637
1931)
5638
@@PROCESS
5639
541. Betty
5640
31.8 cms. (height, excluding base); 17.7 cms. (height of base);
5641
15 cms. (length and width of base)
5642
Bronze with a slightly green to dark brown patina. Hollow, lost-wax,
5643
cast. `MACKENNAL' chiselled on the metal at the back of the
5644
neck. Mounted on a base of black marble.
5645
Presented by the sculptor's only daughter Mrs C. A. Kraay in 1952,
5646
the year in which her son Colin Mackennal Kraay became an
5647
Assistant Keeper in the Heberden Coin Room. Registered on 13
5648
November and listed in the A7¢»#¢/ RcPo ( 1952), 48, as `portrait
5649
bust'.
5650
The sculpture was cxhibitcd at the Royal Academy in 1925
5651
(no.1391, BGrty, illustrated in Ray#/ Ac¢dcowy I//#ffr¢£G¢
5652
( 1925),128). Other female busts with similady finiliar names
5653
Uo¢„ and A4l¢7/.o7?.c) were exhibited in the same year. The bust
5654
seems to have remained in the artist's possession (unless more
5655
than one cast was made of it), for it was included in the Fine
5656
Art Society's Memorial Exhibition of Sfzzf„c#Gf ky £¢e Lefg S¢.r
5657
Bc#7i¢ow A4l¢c&G"»¢/ in May 1932 (as no.13), and was
5658
ex].jib.ited in the Commemorative lhahibition Of Works ky Late
5659
Meow4cgrf at the Royal Academy in the following year (no. 238,
5660
lent by Ijady Mackennal).
5661
@@PROCESS
5662
124
5663
BRITISH SCULPTURES, BY ARTIST'S NAME
5664
Baron Carlo MAROCHETTI RA ( 1805nd7)
5665
@@PROCESS
5666
542. Model for the tomb of princess
5667
Elizabeth Stuart ( untraced)
5668
61 cms. (2 feet) (length)
5669
Stone and bronze.
5670
In the Donations Book for 1892 George Wyatt (son of the donor
5671
of Roubiliac's owode//a for the Handel monument-No. 565) is
5672
recorded as having given `Marochetti's tomb model of Princess
5673
Elizabeth'. It is recorded as 2 feet in length. In the i4ce„"a/ Rcporf
5674
of the Curators Of the University Galleries Of the idilowing yea.I (p. \)
5675
it is given as a bequest: `a small model in stone of the tomb of
5676
Princess Elizabeth, with figure in bronze by Baron Marochetti'. The
5677
minutes of the Curators of the University Galleries reveal that it was
5678
officially accepted on 2 February 1893 (p.120) but also that the
5679
stonework had been `damaged for want of care in packing' (p.123).
5680
I have found no other subsequent archival reference to the model
5681
and the model itself has not been traced.
5682
Marochetti was trained as a sculptor in Paris, studied in Rome
5683
in the 1820s, exhibited at the Paris Salon after 1827, and
5684
obtained major commissions in both Italy and France,
5685
including the colossal bronze statue of Duke Emanuele
5686
Filiberto for his native Turin (cast in Paris in 1833, erected in
5687
Turin in 1838) and the great marble altarpiece of the
Madelcine in Paris ( 1841). In 1848 hc followed King Louis-
5689
Philippe into exile in England where he commenced
5690
exhibiting in 1851. Hc enjoyed the patronage of the British
5691
royal family, obtained major public commissions, and enjoyed
5692
a flourishing practice as a portraitist-his experience working
5693
in bronze as well as his international reputation compensating
5694
for the hostility of British artists and critics. The `Princcss
5695
Elizabeth' referred to is, as Philip Ward-Jackson pointed out
5696
to mc, the daughter of King Charles I. She died in 1650 when
5697
in captivity in Carisbrook Castle on the Isle of wight. Her
5698
monument was erected `as a token of respect for her virtues
5699
and sympathy for her misfortunes' by Queen Victoria in St
5700
Thomas, Ncwport (Isle of wight) where she was buried. The
5701
drl is represented in marble stretched out in her fine clothes
5702
as if asleep, a huge Bible serving as her pillow. The prison
5703
bars arc indicated in relief in the Gothic niche in which the
5704
tomb is set. The tomb was complete by December 1856 when
5705
the queen visited it. Marochetti had been first approached in
5706
the summer of 1854 concerning the commission. Miss Pamela
5707
Clark, Deputy ReSstrar of the Royal Archives at Windsor
5708
Castle, who has supplied these dates also points out that there
5709
is a payment of£35 to Marochetti in February 1858 for a
5710
`copy' of the monument which had been supplied to the
5711
queen `beforc Christmas'. This may well be a rcfcrence to
5712
the model.
5713
Baron Carlo Marochctti, Monument to Princess Elizabeth, St. Thomas, Newport
5714
( Photo courtesy of the Conway Library, Courtauld Institute of Art)
5715
@@PROCESS
125
5717

                
5718
BRITISH SCULPTURES, BY ARTIST'S NAME
5719
Royal College of Art foundry
5720
Bcrnard MEADOWS (b.1915)
5721
@@PROCESS
5722
543. Help
5723
13.6 cms. (height); 40 cms. (length); 15 cms. (width)
5724
Polished bronze. Hollow, lost-wax cast in thrcc pieces, bolted
5725
together, the larger cubic piece open below. Chiselled in the metal:
5726
` ® 0/6' on the underside of the cubic piccc.
5727
From the collection of Christopher Hcwctt ( 1938-83). Given to
5728
the Museum by his finily in June 1985 and included in the
5729
exhibition celebrating the dft held in the MCAlpinc Gallery in January
5730
and Fchruary 1987 (no. 98 in the catalogue). Two other sculptures
5731
by Meadows (Nos. 544, 545) wcrc also included in the Sft together
5732
with twelve drawings. Meadows had exhibited at Hcwett's
5733
Taranman Gallery in 1975 and 1978.
5734
This bronze was cast in 1970 in an edition of six with one
5735
additional artist's cast (opus 92). There is a version nearly
5736
twice as large which was cast in an edition of the same size in
5737
1964 (opus 81 ) of which one example is in Bristol City Art
5738
Gallery and Museum, presented to the Gallery partly by the
5739
Museum's Friends in 1969. The sculpture is typical of the
5740
abstract work composed of interlocked elcmcnts with strong
5741
anatomical associations which the followers of Henry Moorc
5742
favoured. The sculptor supervised both the casting and
5743
polishing.
5744
ffi==is=Tng=L:-rfeRE =.`_i`.`.
5745
@@PROCESS
5746
126
5747
Royal College of Art foundry
5748
Bernard MEADOWS (b.1915)
5749
@@PROCESS
5750
544. Frightened figure
5751
29.2 cms. (height of bronze); 4.2 cms. (height of plinth);
5752
19.5 cms. (length of plinth); 15.7 cms. (width of plinth)
5753
Polished bronze. Hollow, lost-wax cast in three pieces, bolted
5754
together. The smaller bulbous clemcnts are more highly polished.
5755
Mounted on a plinth of travertinc.
5756
From the collection of Christopher Hcwett ( 1938T83). Given to
5757
the Museum by his finfty in June 1985 and included in the
5758
cxhibitioncelcbratingtheSfthcldinthcMCAlpincGalleryinJanuary
5759
and February 1987 (no. 97 in the catalogue). Two other sculptures
5760
by Meadows (Nos. 543, 545) were also included in the aft together
5761
with twelve drawings. Meadows had exhibited at Hewett's
5762
Taranman Gallery in 1975 and 1978.
5763
The sculpture was made in 1976. There was an edition of six
5764
casts with one additional artist's cast. The sculptor supervised
5765
both the casting and polishing.
5766
BRITISH SCULPTURES, BY ARTIST'S NAME
5767
ife ,` .,-,..-.. '-, i
5768
@@PROCESS
127
5770

                
5771
BRITISH SCULPTURES, BY ARTIST'S NAME
5772
BRITISH SCULPTURES, BY ARTIST'S NAME
5773
Royal College of Art foundry
5774
Bernard MEADOWS (b.1915)
5775
@@PROCESS
5776
545. Watchers
5777
23.3 cms, (height); 29 cms. (Length)
5778
Polished bronze. Hollow, lost-wax cast in three pieces, bolted
5779
together, the cubic piece open below. Chiselled in the metal: ` ®
5780
1/6' on the underside of the latter where sawn off.
5781
From the collection of Christopher Hewctt ( 1938-83). Given to
5782
the Museum by his family in June 1985 and included in the
5783
exhibition celebrating the gift held in the MCAlpine Gallery in January
5784
and February 1987 (no. 99 in the catalogue). Two other sculptures
5785
by Meadows (Nos. 543, 544) were also included in the aft together
5786
with twelve drawings. Meadows had exhibited at Hewett's
5787
Taranman Gallery in 1975 and 1978.
5788
The sculpture was cast in 1979 in an edition of six with an
5789
artist's cast. A unique cast of a version twice as large is in the
5790
Open Air Museurn, Hakone, Japan. The sculptor supervised
5791
both the casting and polishing.
5792
@@PROCESS
5793
128
5794
Paul Raphael MONTFORD FRBs ( 1868-1838)
5795
@@PROCESS
5796
546. Victor Rienaecker
5797
37.6 cms. (height); 17.2 cms. (length at base moulding);
5798
11.3 cms. (width at base moulding)
5799
Bronze with a dark brown to chestnut patina, grey-green in the
5800
decpcr hollows. Hollow, lost-wax, cast. Incised on the back of the
5801
bust in a cursive script in the model: `Paul R. Montford / 1922 Sc.'
5802
Unknown provenance. Presumably presented by the sitter or in his
5803
honour or memory.
5804
Montford, the son of Horace Montford, also a sculptor, won
5805
the Royal Academy gold medal and travel studentship in
5806
1891. In 1898 he was appointed modelling master at Chelsea
5807
Polytechnic. Montford's most notable achievements are in
5808
the field of large architectural decoration-n Battcrsca Town
5809
Hall (designs exhibited 1894), Cardiff City Ham and Law
5810
Courts (design exhibited in 1903, model in 1905), the Royal
5811
College of science and Technology (model cxhibitcd in
5812
1916), and, in bronze, the four groups on the Kelvin Way
5813
Bridge, Kclvingrove Park, Glasgow (exhibited in 1917 and
5814
1918). This portrait must bc one of his last works executed
5815
in the country for he emigrated to Australia in the same year
5816
(whcrc he executed among other works the gable relief for
5817
the Melbourne War Memorial). In its vulnerable pensive
5818
mood and sketchy finish it resembles the earliest portrait by
5819
him to have come to my attention: the curious medallion dated
5820
1893 with an easel-shaped ground (Sotheby's, I.ondon, 18
5821
March 1987, lot 174-no.1690 in the Academy Exhibition
5822
of 1893). The portrait of RIenaecker may have been the
5823
`portrait bust, bronze' which Montford exhibited at the Royal
5824
Academy in 1922 (no.1345). But Geoffrey Giddings, in the
5825
survey of Montford's work published in A„c4G.£gcf'f /o„#g¢/
5826
for December 1922 (56: 789-92), observed that Montford
5827
had `some fifty' busts to his credit.
5828
Victor RIenaecker was appointed to succeed the Hon. A.
5829
Shirley in 1929 as Assistant Keeper of the Department of
5830
Fine Art. He had, previous to this date, been a generous
5831
benefactor of the Museum, lending watercolours in 1924 and
5832
1925, for example. Hc resigned in July 1931 shordy after Bell
5833
and was replaced by Ian Robertson in 1932. He remained a
5834
fiend of the Department to which he made Sfts in 1953.
5835
@@PROCESS
129
5837

                
5838
BRITISH SCULPTURES, BY ARTIST'S NAME
5839
Alexander MUNRO ( 1825-71 )
5840
@@PROCESS
5841
547. Profile portrait of John
5842
Everett rmllais
5843
56 cm. (height within frame); 45.5 cms. (width within frame);
5844
67.5 cms. (height of frame); 57 cms. (width of frame)
5845
Plaster of Paris. The artist's monogram (an interlaced A and M) is
5846
scratched below the truncation of the neck. `ALEX. MUNRo. Sc' is
5847
scratched on the truncation itself. The relief is set in its original
5848
frame: a reverse moulding of ebonizcd wood with a gold slip.
5849
Given by Dr Acland on 16 Dcccmber 1856 (Minutes of the Curators
5850
of the University Galleries, p. 31) shordy after No. 548. For Acland
5851
see No. 549. Placed on exhibition in the newly decorated Combe
5852
Gallery in 1988, having been in storage for about half a century.
5853
The portrait was exhibited-in what medium is not clear-at
5854
the Royal Academy in 1854 (no. 1523). A version of
5855
uncertain medium is said to be in the collection of Sir Ralph
5856
Miuais, another, also of plaster, less sharp and less clear, and
5857
in a fat laurel wreath frame, is in the National Portrait Gallery,
5858
I.ondon (no. 4959, given by the artist's granddaughter Mrs
5859
Katharine Macdonald in 1973), and another plaster (without
5860
@@PROCESS
5861
130
5862
the monogram) belonged in 1969 to Mrs Dorothy Walker
5863
of Ncwburgh, Fife (letter in the Department's archive of 22
5864
January 1969). A xerox of an old reproduction of the
5865
medallion portrait enclosed by Mrs Walker has a caption
5866
identifying it as `from the marble' and dating it to 1853-it
5867
is indeed likely that the model was commenced even if not
5868
completed in that year. 1854 is the date which appears on
5869
the most exquisite of all Munro's medallion portraits in c¢po
5870
r¢./¢.ova-that of the wife of the donor of the Ashmolcan's
5871
plaster, Sarali Acland, of which the marble origival, framed in
5872
Verom marble, was, after her death in 1878, adopted for her
5873
monument in Christ Church Cathedral, and of which a marble
5874
replica, framed in Siena marble, was placed in the entrance
5875
ham of the Acland Nursing Home in Oxford founded in her
5876
memory. Medallion portraits of ladies were, it seems, a
5877
speciality of the artist in the early 1850s-nc of I,ady
5878
Constancc Grosvenor in marble had bccn exhibited at the
5879
Academy in 1853 (no. 1460) and one of I.ady Alwyne
5880
Compton was also exhibited in 1854 (no. 1524)-nd the
5881
portrait of Mfllais has a softness in its curls and a delicaey in
5882
its profile worthy of these.
5883
Alexander MUNRO ( 1825-71 )
5884
@@PROCESS
5885
548. Profile medallion portrait of
5886
the Revd Dr Henry Wellesley
5887
54 cms. (diameter of marble as visible); 74.3 cms. (height and
5888
width of frame)
5889
Carrara marble, slightly stained with grey and rusty patches, also
5890
discoloured with some surface dirt. The artist's monogram (an A
5891
and M interlaced, but without the cross-bar of the A in this case) is
5892
chiselled below the truncation of the neck. The relief is set in its
5893
original frame: a plain flat oak border with spandrels of deal, with a
5894
sanded texture, gilded, now opening at the joins. A brass plaque
5895
on the frame is engraved: `HENRICI. WELLESLEy. S T.P /ARTTUM.
5896
ELEGANTIUM. FAVTORIS. CULTISSIMI / HANG. IMAGINEM.
5897
ECTYPAM / S_OCIETAS. OXON. ARTIBUS. COLENDIS. DEDITA / FAG.
5898
CUR. ;As fro cccLVI. '
5899
Commissioned, as the inscription above makes clear, in 1856, the
5900
portrait was presented by members of the Oxford Art Society to
5901
the University Galleries in 1857 as is recorded in the manuscript
5902
Donations Book, p. 48. The Minutes of the Curators of the
5903
University Galleries (p. 31) indicate that the ctft was proposed on
5904
the Socicty's behalf by the Revd George Butler and accepted on 11
5905
BRITISH SCULPTURES, BY ARTIST'S NAME
5906
November 1856. Exhibited in the galleries in the nineteenth century,
5907
but in rcccnt decades kept in basement storage, the relief was placed
5908
on exhibition in the newly decorated Combc Gallery in 1988.
5909
The portrait was exhibited by Munro at the Royal Academy
5910
in 1856 (no.1279, `Marblc Medauion of Rev. Dr. Wellesley
5911
Principal of New Inn Hall, Oxford, President of Oxford Art
5912
Society'). Wellesley, more than any other senior member of
5913
the University, was responsible for securing for the University
5914
Gaueries Sir Thomas Lawrcnce's collection of drawings by
5915
Raphael and Michclangclo and it was this, above all, that the
5916
commission and presentation of this portrait commemorated.
5917
The Art Society's attention had perhaps been drawn to Munro
5918
by his mcdahion portraits of Mrs Acland of 1854 (for which
5919
see No. 547) and of Master Henry Acland (exhibited at the
5920
Royal Academy in 1855, no. 1485), for Henry Acland, this
5921
boy's father (No. 549) was after Wellesley perhaps the most
5922
influential figure in the cultural life of the University. Acland
5923
himself presented Munro's medallion of Millais (No. 547) to
5924
the University Galleries a little over a month later. Wellesley
5925
was stiu a Curator of the Galleries in 1856. A decade later his
5926
place was taken by Acland.
5927
@@PROCESS
131
5929

                
5930
BRITISH SCULPTURES, BY ARTIST'S NAME
5931
Alcxandcr MUNRO ( 1825-71 )
5932
@@PROCESS
5933
549. Bust portrait of professor
5934
Henry Wentworth Acland
5935
67.5 cms. (height); 29 cms. (length across lowest portion of
5936
chest); 28 cms. (length across base); 22.3 cms. (width)
5937
Plaster of Paris. Hollow cast with no evident seams. The plaster has
5938
bccn stained to a stone colour. Minor scratches on the nose, cheek,
5939
edge of the shoulder, and geometrical termination of the bust reveal
5940
the white of the plaster. The chest is slightly mottled with mould
5941
stains.
5942
Transferred from the Bodleian Ijibrary in 19 02 .
5943
Munro's bust of Dr Acland was cxhibitcd as a marble at the
5944
Royal Academy exhibition in 1857 (no. 1280). The marble
5945
version-r at least a marble version-signed on the proper
5946
left side of the geometrical termination of the bust `ALEx.
5947
MUNRo. Sc. 1857', is in the Acland Nursing Home in the
5948
Woodstock Road, near the reception desk. It differs from
5949
this plaster in that the lower part of the chest is terminated in
5950
a briefer, more complex, but no more naturalistic manner.
5951
The plaster must therefore record the oriSnal clay model
5952
rather than reproduce the marble. The following inscription
5953
on the marble refers to the circumstances of its commission
5954
following Acland's gallant conduct to victims of a shipwreck:
5955
`UXORI HENRICI DYKE ACIAND M.D. / MEDICINjE
5956
pROFEssoRls REGII ET cLINlcALls / cusTODls BIBLloTHEcrf
5957
RADCLIFFIANffi / IN UNIVERSITATE OXONIENSI / IIANC
5958
MARITI EJUS EFFIGIEM / D.D. / AMICI IXXV / VITAM SIBI
5959
ACADEMlffi MULTIS PRETEREA / CARAM ET UTILEM / E
5960
NAUFRAGII pERIcuLO sOsplTEM / GRATUIANTEs. ' A small
5961
plaster version of the bust is in a private collection in Oxford
5962
and it is possible that an edition of such was cast for
5963
distribution to the grateful friends.
5964
Henry Acland ( 1815-1900) was one ofthc most influential,
5965
and attractive, figures in the University of Oxford in the
5966
second half of the last century. The second son ofthc politician
5967
and philanthropist Sir Thomas Dyke Acland ( 1787-1871 ) hc
5968
possessed as a young man many talents, including artistic
5969
ones, but, after 1840, he devoted himself chiefly to medicine.
5970
He was made reader in Anatomy at his old college of Christ
5971
Church in 1845, a Fcuow of the Royal Society in 1847,
5972
Radcliffe I.ibrarian, physician to the Radcliffe Infirmary, and
5973
Aldrichian Professor of Clinical Medicine in 1851, and ReSus
5974
Professor of Medicine in 1857-the year in which this bust
5975
was made. The bust also coincides with the building of the
5976
Oxford Museum (the foundation stone was laid in 1855 and
5977
it was opened in 1861) in the creation of which he played a
5978
leading part. He was made a Curator of the University
5979
Galleries in 1866. Acland was a close friend of John Ruskin
5980
and it may have been Ruskin who first drew his attention to
5981
Muuro. For Munro's bust of Mrs Acland see No. 547 and
5982
for his statues for the Oxford Museum see Nos. 550 and 551.
5983
Acland was created a baronet in 1890.
5984
@@PROCESS
5985
132
5986
BRITISH SCULPTURES, BY ARTIST'S NAME
5987
Alexander MUNRO ( 1825-71 )
5988
@@PROCESS
5989
550. Model for a statue of Galileo
5990
62.8 cms. (height including base); 3.9 cms. (height of base);
5991
25.1 cms. (diameter of base)
5992
Plaster of I'aris, coloured dark grey-black. Thick-walled, possibly
5993
solid cast, attached to a solid base. Some white scratches on the
5994
base.
5995
Given by Mr J. A. R. Munro in 1916.
5996
Munro's stone statue of Galileo was one of the series of men
5997
of science commissioned for the great hall of the Oxford
5998
University Museum c.1857. It remains in its oriSnal position
5999
bctwccn columns 19 and 20. There are a number of minor
6000
differences between it and this model: in the statue the sleeves
6001
are wider and the base has been cut down to a square with
6002
chamfered corners to match the stepped corbel support-in
consequence the hcro's right foot projects over the edge.
6004
BRITISH SCULPTURES, BY ARTIST'S NAME
6005
Alexander MUNRO ( 1825-71 )
6006
@@PROCESS
6007
551. Model for a statue of
6008
Hippocrates
6009
59 cms. (height including base); 3.2 cms. (height of base); 18 cms.
6010
(diameter of base)
6011
Plaster of Paris, coloured dark grey-black. Solid cast. The scroll in
6012
the figurc's right hand has been broken before the colouring. Some
6013
white scratches on the base.
6014
Given by Mr H. A. Munro in 1917.
6015
Munro exhibited `Hippocratcs; Model of a statue to be
6016
presented by John Ruskin, Esq„ to the New Museum at
6017
Oxford' at the Royal Academy in 1857 (no. 1232). The statue
6018
itself, carved out of stone, remains in its origival position
6019
between columns 6 and 7 of the University Museum. It differs
6020
from this model only in minor respects: the caduceus in the
6021
larger statue is not confined to a recessed panel on the altar
6022
and the base is square with chamfercd comers.
6023
@@PROCESS
6024
134
6025
BRITISH SCULPTURES, BY ARTIST'S NAME
6026
Alexander MUNRO ( 1825-71 )
6027
@@PROCESS
6028
552. Seal in the form of a bust of a
6029
bearded warrior
6030
5.1 cms. (height)
6031
Hone stone. The faceted end of the shaft is engraved with the initials
6032
DM in Gothic. The shaft is broken in two (it has been reassembled
6033
for photography). The artist's monogram (an A and M interlaced)
6034
is carved on the hollowed back of the bust.
6035
Given in 1947 by Amy Tetley of Ingelby, St Andrew's Place,
6036
Llandudno. Redstered on 21 April. Inherited by her from her father
6037
to whom it was given by the artist (see below).
6038
The letter from the donor of 17 April 1947 preserved in the
6039
Dcpartmcnt's archive supplies all the information there is
6040
about this mysterious, miniature sculpture:
6041
Dear Sir, After listening to that BBC charming talk on the Ashmolean
6042
in which the Pre-Raphaelites were given an honoured place, I
6043
remembered this little figure which Alec Munro carved one night
6044
when he and my father were having one of their night long confabs,
6045
and which he tossed across to him with a grin, when it was finished.
6046
My father was living then in Regent's Park and as they had been
6047
boys together in York they kept up the fuendship and spent many
6048
long nights together. I imagine this little greek warrior, the work
6049
of the Pre-Raphaelite's early sculpture might enjoy a place among
6050
the work of the men whom Alcc Munro had known and thought
6051
so much of.
6052
The donor, it should be noted, is unlikely to have witnessed
6053
the circumstances she describes. The work may date from the
6054
carly 1860s when the artists in the circle of Rossetti turned
6055
their attention to Greek subject-matter-the Trojan wars
6056
especially-which as medieval purists they had shunned in the
6057
1850s. A note in the Register reads, `From a slate pencil.
6058
Mrs Munro has some similar.'
6059
lk,.i`,,E',,
6060
@@PROCESS
135
6062

                
6063
BRITISH SCULPTURES, BY ARTIST'S NAME
6064
BRITISH SCULPTURES, BY ARTIST'S NAME
6065
Alcxandcr MUNRO ( 1825-71 )
6066
@@PROCESS
6067
553. Bust portrait of professor
6068
Goldwin Smith
6069
62.5 cms. (height); 28 cms. (length across chest); 22.I cms.
6070
(width)
6071
Plaster of I'aris. Hollow cast, with no evident seams. The plaster has
6072
been stained to a stone colour but this has worn off in some areas,
6073
especially on the chest. The nose has been broken off and lost. Chips
6074
are missing from the forehead. There are mottled mould stains on
6075
the chest.
6076
Given to the University by T. W. Jackson. In the Bodleian Library
6077
in L9\2 (.8. ine Poole, Catalogtte Of Portraits in the Possession Of
6078
£4c U#;pe7TG.ty ..., i (Oxford, 1912), 127, no. 323). Transferred to
6079
the Ashmolean Museum at an unrccorded date.
6080
The subject of the bust was identified by Mrs Herta Simon
6081
of Park Town in the summer of 1988. She also discovered
6082
the marble version of the bust in the basement of the Art
6083
Gallery of Ontario in Toronto in which city Professor
6084
Goldwin Smith ( 1823-1910; Regivs professor of Modern
6085
History at Oxford 1855nd6) lived with his wife from 1871,
6086
having emigrated to Noi±h America in 1868. A photograph
6087
of a version of the bust identifies it as made in Oxford in
6088
about 1866.
6089
@@PROCESS
6090
136
:i;,,,;;fiijt,.,,`r't,j'',;+F¥.,;.I,t.irEL,",1;:,:i:1,:,'l'::::'.I:.'i:':,;:.:,i;,;,:i:':,:;;#::,,,'apL#E;:
6092
Factory of J. NEALE, Hanley, Staffs.
6093
@@PROCESS
6094
554. Vase ornamented with
6095
medallions, masks, and swags
6096
29 cms. (height including wooden plinth); 2.2 cms. (height of
6097
wooden plinth); 8.9 cms. (length of wooden plinth); 8,7 cms.
6098
(width of wooden plinth); 6 cms. (height of masks including
6099
drapery below the neck)
6100
Crcamware. The body of the vase is thrown and the foot separately
6101
thrown and attached before firing. The ornaments are separately
6102
cast and attached also before firing. There are chips missing from
6103
the higher rim to the belt of leaf omancnt and from the noses of
6104
both masks. An overlap in the applied belt of leaves around the body
6105
of the vase may be discerned to proper right of the medallion of
6106
otho. The very dark, slightly grey, blue paint is applied to the vase
6107
in a dense speckled pattern presumably by some mechanical device.
6108
The inside of the neck is also coloured. The application is irregular:
6109
the stem and foot appear to be an almost uniform black and the
6110
upper part of the neck is also very dark. Much of the gilding has
6111
worn off. Although now only apparent in the hollows of the leaves
6112
it seems origivally to have covered them complctcly, as also all the
6113
unpainted omamcnts except perhaps the raised ornament around
6114
the rim of the foot. The underside of the foot reveals a pink cream
6115
unglazed body. It has not been broken off. The thin bolt passing
6116
from inside the vase and fixing it to the plinth appears to be oridnal
6117
and the ebonized wooden plinth must be a replacement for a
6118
separately fired ceramic one of similar dimensions and colour.
6119
Prove nance unrecordcd.
6120
Wedgwood made creaniware vases painted in imitation of the
6121
prestigious stones associated with the Romansngranitcs,
6122
porphyry, scrpcntinc, pc7idG ¢»f¢.co, jJo7¢#f¢7¢£# (which he
6123
translated as holygate), and agates-from the late 1760s.
6124
Those decorated in the fashion of this vase were intended to
6125
represent, or rather evoke, granite, as is clear from a letter to
6126
his partner Thomas Bentley of 13 February 1770 in which
6127
Wedgwood proposed that they `call those barely sprinkled
6128
with blue and ornaments Slt, gr¢#G.fG'. It is clear from the
6129
firm's catalogues that such vases were generally sold `in pairs
6130
or in sets of three, five or seven' (E. Mcteyard, IZJc Wcof2grood
6131
H¢„dfoo¢ (I.ondon,1875) ). Wedgwood also experimented
6132
with making the colour integral to the ceramic body as it was
6133
in the minerals imitated. And of course he was also anxious
6134
to imitate the hardness and texture as well as the colour of
6135
stones: hence he called his new vitreous red stoneware `rosso
6136
antico', his new fine, hard black stoneware `black basaltcs',
6137
and his new fine, hard, white stainablc stoneware `jasper'.
6138
Whereas one of the medallions here has the profile portrait
6139
of a Roman emperor and is stamped as such (M OTHO) the
6140
other has the profile portrait of a woman in cightcenth-century
6141
dress (perhaps Catherine the Great). The somewhat
6142
improvised character of the ornament extends also to the
6143
female masks which are probably from the sane mould: both
6144
heads are turned slighdy in one direction which suggests that
6145
the origival model was dcsigncd for a different purpose.
6146
Wedgwood's vases of this type are gcncrally mounted on
6147
Plinths of black basaltes (or occasionally on ones of white
6148
jasper ware) which are impressed with his mark. It is easy to
6149
imagive that the wooden plinth in this case replaces a broken
6150
basaltes one. However, it seems more likely that this is one
6151
of the close imitations of wedgwood's vases made probably
6152
in about 1780 by Nealc's factory. Thcrc is a vase of the same
6153
shape decorated with masks and swags and medallions in the
6154
Victoria and Albert Museum (304-1869) which has identical
6155
colouring, identical Slding, and an identical size of bead
6156
moulding and band of scrratcd leaves between raised edges.
6157
It is attributed to Nealc's factory on account of its very close
6158
similarity to another vase which is marked `J. Neale, Hanley'
6159
on its basaltes plinth in the same collection ( 1614-A-1871 ).
6160
Ncale was the brother-in-law of Henry Palmer, the previous
6161
proprietor of the factory at Church Works, Hanley. Nealc's
6162
partner from 1786, and eventually his successor, was Robert
6163
Wilson, and the factory became that of `Neale and Co.' and
6164
then that of `Neale and Wflson' (see W. Burton, A HS.Jfory
6165
and Description of English Eawihenware and Stoneware
6166
(Ijondon, 1904), 158-9).
6167
@@PROCESS
137
6169

                
6170
BRITISH SCULPTURES, BY ARTIST'S NAME
6171
BRITISH SCULPTURES, BY ARTIST'S NAME
6172
Oscar NEMON ( 1906-85)
6173
@@PROCESS
6174
555. Half-length portrait of Sir
6175
Karl Parker wearing an overcoat
6176
55.8 cms. (height)
6177
Plaster of Paris, painted black to simulate bronze. A few points of
6178
plaster remain white. Hollow cast.
6179
There is no record of the circumstances in which this sculpture was
6180
acquired by the Department, but it is likely to have been soon after
6181
the rctircment of parker as Kccper in 1962. It has always been placed
6182
on a high bracket in the south-west comer of the Print Room.
6183
jin outhne of Nemon's career is given in the introduction
6184
written by Sir John Rothenstein for the exhibition at the
6185
As;)nnriohean M:use:`im Oscar Nemon: Scttlptures Of Ottr Time
6186
( 1982), and in the obituary in the T¢.owcj of 16 April 1985.
6187
Ncmon's origivs wcrc obscure. His parents came from `what
6188
is now Yugoslavia' but his `background and education were
6189
international'. Having arrived in Oxford as a refugee he
6190
married, in 1939, Patricial Villiers-Stuart. `Though the Queen
6191
and the Queen Mother were among his sitters, along with
6192
such notables as I.ord Beaverbrook, Sir Max Beerbohm and
6193
Ijord Montgomery, he is probably best remembered for his
6194
innumerable images of winston Churchill. ' The Department
6195
records include many photographs of the plaster before it was
6196
painted.
6197
Oscar NEMON ( 1906-85)
6198
@@PROCESS
6199
556. Chow (Topsy)
6200
20.4 cms. (height, including plinth); 43.9 cms. (length of plinth);
6201
23.7 cms. (width of plinth)
6202
Plaster of Paris, painted green to simulate bronze. Hollow cast.
6203
Inscribed in red paint on white plaster of the interior: `Oscar
6204
Nemon / Presented by Miss Fielder / 1968'.
6205
Given by Miss H. E. Fielder of The I.ane House, Norham Road,
6206
Oxford, in 1968. It was offered to Mr I.owe on 20 January 1968
6207
and had arrived by 26 January. It was apparently given by the
6208
sculptor to the donor's father, Professor Fielder.
6209
A memorandum in the Dcpartment's archives dated 30 April
6210
1969 by Ion I.owe, then an Assistant Keeper in the
6211
Department, records a conversation with the artist in his
6212
studio, Friary Court, St James's Palace.
6213
Princess Marie Bonapartc had two Chow Chows called Topsy and
6214
Tattoo. O.N. made models of both. She wrote a book on them,
6215
and analysed the dogs, having been a pupil of Freud. Freud himself
6216
had one of their puppies; another puppy belonged to Princess
6217
Marina. The models were made about 1936, certainly before the
6218
War. They were exhibited in Belgium in August 1936 and life-size
6219
models in bronze survive in Brussels. The sculptor brought two
6220
plaster models to England, this one and another showing the Chows
6221
standing. They arc `my first dogs and my last in this life'. O.N.
6222
worked at the Princess's residence in Paris, and was there visited by
6223
the Queen of the Belgians . . .
6224
That, however, did not make him a good sculptor. See also
6225
No. 555.
6226
@@PROCESS
139
6228

                
6229
BRITISH SCULPTURES, BY ARTIST'S NAME
6230
Joseph NOLLEKENS RA ( 1737-1833)
6231
@@PROCESS
6232
557. Idealized portrait bust of
6233
Maria, Mrs Henry Howard of
6234
Corby
6235
60,5 cms. (height including socle); 11 cms. (height of socle);
6236
21 cms. (diameter of soclc)
6237
Carrara marble, somewhat discoloured with dirt. There arc a few
6238
minute flaws in the marble, notably to proper left of the chin and
6239
neck. The uppermost fold of drapery is missing a few chips, as is the
6240
most prominent fold between the breasts, and the cnd of the drapery
6241
as it hangs down to proper left has been broken off. `Nollekens F!'
6242
is chisellcd across the supporting trunk of marble in the hollowed
6243
back of the bust.
6244
Bought at Christic's, London, 21 January 1965, lot 11, using the
6245
Bouch Bequest Fund. RCSstered on 28 January. The vendor was
6246
Major W. W. Dowding of The Manor, Manningford Bruce, Pewsey,
6247
Wiltshire, who recalled that he had bought the bust eight years
6248
previously from Alfred Spero, the sculpture dealer, at the Ijondon
6249
Antique Dealers Fair. Mr Spero thought that he had bought it from
6250
another dealer, Marcussen, but had no record of the transaction
6251
(letters of 26 February and 21 April 1965 and notes in the
6252
Department's archive).
6253
The tight and circulating rhythm of the drapery and the
6254
termination of the bust just below the breasts are entirely
6255
characteristic of Nollckcns, but the bust is obviously no
6256
ordimry portrait but rather an `anima beata' in the tradition
6257
of Bernini's famous ideal head, now more classical in
6258
treatment. The debt to the expressive heads of Niobe and
6259
the niobids reminds us not only that Nollekcns is known to
6260
have studied the antique Niobc group in Florcncc (there are
6261
drawings in a sketchbook in the Ashmolean) but also that hc
6262
actually owned a notable antique version of the head of Niobe
6263
which he sold to the earl of Exeter (today at Brocklesby Park,
6264
Lincolnshire). The no less obvious inspiration which the
6265
treatment of the hair owes to the bust of `Clytie' of the
6266
Townley Collection reminds us that Nollekens was not only
6267
an intimate of Townley's but was said to have frequently
6268
copied that bust in marble.
6269
The Keeper of the Department in 1965, Ian Robertson,
6270
was convinced that this bust was a portrait of Emma, Ijady
6271
Hamilton. An alleged similarity to a head on the Warwick
6272
Vase which Sir William Haniilton was supposed to have had
6273
modeued on Emma prior to selling the vase to his nephew
6274
`confims the identification', he wrote over-optimistically in
6275
the A""„¢/ Rcporf (1965: 56-7). He proposed 1791 as the
6276
year in which the work was exccutcd because that was the
6277
year of Emma's return to London from Naples when she did
6278
indeed sit to numerous artists. However, there is no
6279
contemporary record of her sitting to Nollekens and it is odd
6280
that thcrc is no recouection of such an important portrait in
6281
J. T. Smith's biography. The bust was included in the
6282
c;xINkjriron Lady Hamilton in Relation to the Art Of her Time
6283
held at Kenwood House, London, 1972 (p. 47 in the
6284
catalogue by Patricia Jaife ), and in 777c A77iogr¢7¢f Co""o¢.ftG"r..
6285
@@PROCESS
6286
140
6287
R¢.c47¢7id P¢y7¢c Kce¢j¢f, held at the Whitworth Art Gallery,
6288
Manchester,1982, where, however, I catalogued it (no. 61,
6289
p.143) as `perhaps of Emma Hamilton' with the observation
6290
that `The theatrical character suggests Lady Hamilton's
6291
accomplishments but for this reason also it can only be an
6292
approximate likeness, and it is not entirely certain that this
6293
bust represents her'. There is really no good reason to suggest
6294
that it docs represent her.
6295
The bust rescmblcs very closely indeed Maria the wife of
6296
Henry Howard of Corby in Nollckcns's reclining statue of
6297
her comforted by a personification of ReliSon-nc of his
6298
most beautiful and famous works-in Wethcrall Church,
6299
Cumberland. Mrs Howard died in childbed in 1788 and the
6300
monument was presumably commissioned soon afterwards,
6301
but the model was not exhibited at the Royal Academy until
6302
1800 (no.1082, `A monumental group to the memory of a
6303
lady who died in child-bed, supported by Religion, ctc.') and
6304
the marble was only erected in 1803. The similarity has
6305
cscapcd notice perhaps because of the angle of most of the
6306
photographs taken of the sculpture in Wetherall (but see N.
6307
Penny, `English Church Monuments to Women who died in
6308
chi."dleed: , ]ottrmal of the Warbttrg and Cottrtauld Institutes,
6309
38 (1975), pl. a, opposite p. 320). It was whouy characteristic
6310
of Nollekens to make a bust version as well as a full-length
6311
effigy (he did the same for Mrs Pclham, whose statue in the
6312
Brocklcsby Mausoleum, however, needed less adaptation
6313
since it was not reclining). The drapery and the turn of the
6314
head have been changed somewhat for the bust, but the face
6315
is the same and so is the hair in every single lock. The portrait
6316
must have been posthumous and the sculptor may not even
6317
have been given other portraits to refer to. In any case young
6318
wives in commemorative sculpture in this period were as
6319
idcalized in treatment as personifications of ReliSon.
6320
BRITISH SCULPTURES, BY ARTIST'S NAME
6321
BRITISH SCULPTURES, BY ARTIST'S NAME
6322
Perhaps by Joseph NOLLEKENS ( 1737-1823)
6323
@@PROCESS
6324
558. Oliver Cromwell
6325
60.5 cms. (height excluding socle); 13.2 cms. (height of soclc);
6326
22.7 cms. (diameter of soclc)
6327
Carrara marble. There are small chips on the edge of the armour at
6328
the proper left shoulder and a larger loss to the collar to proper left.
6329
There is a slight crack across the proper left shoulder. The bust is
6330
mounted on a tuned socle of Siena marble (dark mustard yellow
6331
flecked with grey). This does not fit the shape of the lowest portions
6332
of the marble bust which rest upon it and cannot be original. `o?
6333
CROMWELL' is chiselled on the tablet below the cutting of the chest
6334
above the turned socle. `E. Pierce Fecit' is chisclled on the face of
6335
this tablet to proper left with the last two letters `. . .it') continued
6336
on the reverse face.
6337
Bought with a fund presented by Magdalen College in 1920 from
6338
E. A. V. Stanley previous to the sale on 6-17 September by Morris,
6339
Son and Pcard of the contents of Quantock IJ)dge near Bridgwater,
6340
Somerset-Mr Stanley `liberally consented to reserve it from the
6341
auction and cede it to the museum at an agreed valuation' (A""#¢/
6342
RcPo77 ( 1920) 16-17). It was purchased `towards the close of the
6343
first half of the last century from Harman the I.ondon dealer, by
6344
Henry I.abouchere, I.ord Taunton' (ibid. ). I.ord Taunton's
6345
collection was kept at Stoke Park, but removed to Quantock I-odgc
6346
after his death in 1869. In the Museum the bust was displayed as
6347
a companion with Picrce's bust of wren, first in the Eldon Room
6348
(now the Founder's Room) and subsequently in the Tapestry Gallery.
6349
It was removed in 1989 to the Weldon Gallery. The soclc rested
6350
upon a massive baluster-shaped pedestal which was transferred in
6351
1987 to the bust of the carl of Arundel (No. 472). This pedestal
6352
was described in the A7G„"¢/ RGPo7? for 1924. It was made of
6353
`Sicilian marble' (a slightly grey, very durable Carrara marble, known
6354
as Ravaccionc in Italy) `to harmonise with the old baluster base of
6355
the bust of wren, but . . . simpler and less sculpturcsque in character'.
6356
C. F. Bell had it `copied from the pillar supporting the font in St.
6357
Margaret's, Westminster, designed by Nicholas Stone. The front is
6358
ornamented with a shield of arms of the Commonwealth and
6359
Cromwell copied from a medal by Thomas Simon.'
6360
A bust of Cromwen in bronze in the Museum of London is
6361
signed by Pierce and dated 1672. In this portrait, the head,
6362
which has bccn cast separately, seems to be related to the
6363
mask now at Chcqucrs which has sometimes been thought
6364
to have been made for Cromwcll's finily in 1655 (but on
6365
this point see D. Piper, `The Contemporary Portraits of
6366
Oliver Cromwell', W¢/Po/G Soc¢.ety, 34 ( 19524), 41 ). Marble
6367
copies exist of which a notable one is in the Wemyss
6368
Collection at Gosford House. This type is much less vivid as
6369
a portrait than the Ashmolean's marble bust which, as Mrs
6370
Poole remarks, `impresses the spectator with great force as a
6371
portrait from lifc'. But it would be rash to conclude, with
6372
her, that `it belongs in all probability to the last years of health
6373
of the protector's life' (`Edward Picrcc the Sculptor', W¢/po/c
6374
SocG.rty, 11 ( 1923), 38) for vivid portraits are often made long
6375
after a sittcr's death. Mrs Poole also notes that this is `in all
6376
probability' the marble bust which Walpolc records as sold at
6377
auction in 1714, but there is no way of telling that it was not
6378
a marble copy of the 1672 bronze to which Walpole referred.
6379
No one sccms to have questioned the attribution of the
6380
@@PROCESS
6381
142
6382
Ashmolean bust, and yet the chiselled lettering of Picrce's
6383
name is not close to that found on the London Museum
6384
bronze, does not fit into the side of the tablet, and is not
6385
seventeenth century in style. Moreover, the bust bears no
6386
resemblance to any other sculpture by Pierce. Busts of
6387
Cromwell were exceedingly popular in the eighteenth century
6388
and were made by all the leading sculptors: Rysbrack,
6389
Roubiliac, Wilton, and Nollekens. The treatment of the curls
6390
around the ears in this case is particularly close to those in
6391
Nollekcns's work-see, for instance, the bust of sir George
6392
Savilc of 1784 in the Victoria and Albcrt Museum or the
6393
celcbratcd first bust of Charles James Fox at Holkham Hall,
6394
Norfolk; the cutting of iris and pupil is exactly in his manner;
6395
the detail of the lion badge on the chest is suggestive of his
6396
taste in ornaments; and the compact and rounded outline of
6397
the bust is typical of him. The bust of Cromwell which is
6398
listed by J. T. Smith in No//cfec„f ¢»¢ H¢.f T¢.7„cf (I.ondon,
6399
1828) has not, it seems, been traced. I believe that it is this
6400
bust to which the name of Picrcc was added in the mid-ninetccnth
6401
century to increase its value as an authentic likeness.
6402
An unsigned terracotta version of this bust was acquired in
1861 for the National Portrait Gallery (no. 438, kept in storc-
6404
D. P.rper. Catalogt4e Of Seventeenth-Centttry Portraits in the
6405
National Portrait Gallery 1625-1714 (Carrtondge. \963),
6406
96). The chest is squared off to form a herm and considerably
6407
reduced in size (the height is 41.9 cms.). The head looks too
6408
large and this treatment does not suit the armour. It is clearly
6409
not the origival design. The detail is not crisp and inspection
6410
of the rear of the bust reveals that it is cast, presumably from
6411
moulds taken from Nollekens's original model which had
6412
perhaps been modified (because of damage?) to this shape.
6413
In any case this is not a seventeenth-century work, since the
6414
Greek termination for a portrait bust was then unknown and,
6415
since it is cast, it is not the model for the marble bust as has
6416
been claimed. Mrs Poolc was right to observe the significance
6417
of the terracotta having belonged to the sculptor J. I.oft who
6418
was intercstcd in imaginary historical portraiture (ibid. 39 n.)
6419
and Piper was right to suspect that it was `ninetcenth-century
6420
work,.
6421
A bust of Cromwell simhar to that in the Ashmolcan was
6422
sold at Phillip's, I.ondon (3 July 1990, lot 229). The only
6423
major differcncc is that this version has a cloak covering much
6424
of the armour and fastened at the proper left shoulder, making
6425
a happier composition. `ULIVIERO CROMWEL[.' is chisclled on
6426
the tablet, which suggests an Italian origin. Another version
6427
of this type, with minor differences in the drapery, was sold
6428
on 6 July 1986 at Christie's, I.ondon, as lot 73-`F. Harwood
6429
Fecit 1759' was chisellcd on the socle. Patricia Wengraf, who
6430
bought the version sold at Phillip's, accepts Harwood as the
6431
inventor of this bust. Harwood had a flourishing practice in
6432
Florence during the 1750s and 1760s and, Mrs Wcngraf
6433
points out, he could have studied the plaster death mask of
6434
Cromwell now in the Bargcllo in Florence as well as Thomas
6435
Simon's Dunbar Medal of 1651 and, of course, prints. I have,
6436
however, seen no evidence that Harwood had the talent to
invent a bust of this character and none of his oriSnal work-
6438
BRITISH SCULI'TURES, BY ARTIST'S NAME
6439
the tomb of william, 2nd Earl Cowpcr, at Hertingfordbury
6440
completed in 1770, for example-is close in style. Most of
6441
his work as a sculptor seems to have been copying the work
6442
of others. That he was able to copy an invention by Nollekens
6443
is easy to believe especially if the orialnal model was made by
6444
Nollckens when he was in Rome between 1762 and 1770.
6445
That this was indeed the case is suggested by the very similar
6446
treatment of Cromwell's armour to that worn by the duke of
6447
York in the bust modeucd by Nollekens in Rome in 1764. It
6448
is also suggested by the treatment of the features, especially
6449
the frown, which recalls the bust of Piranesi in the Accadcmia
6450
di San Luca in Rome, which is the finest of all early portraits
6451
by Nollekcns (both rcproduccd in J. Kenworthy-Browne,
6452
`Establishing a Reputation: Joseph Nollekens: The Years in
6453
Rome-I', Co%#try L¢rc (7 )une 1979),1844-8). It would
6454
not have been extraordinary for Harwood to place his own
6455
name on Noll€kens's invention-nor to add a date which
6456
seemed to make Nollekens's invention impossible. The stylistic
6457
evidence in favour of Nollckens's authorship seems to me to
6458
be too strong to bc shaken by the undoubted connection
6459
with Harwood.
6460
@@PROCESS
143
6462

                
6463
BRITISH SCULPTURES, BY ARTIST'S NAME
6464
Edward PIERCE ( c.1630-95 )
6465
@@PROCESS
6466
559. Sir Christopher Wren
6467
66. I cms. (height, including socle); 9 cms. (height of soc[e);
6468
17 cms. (diameter of socle); 126.8 cms. (total height of pedestal
6469
as constituted at present); 83 cms. (height of principal baluster
6470
component of the pedestal)
6471
Carrara marble. There is a small chip missing from the shirt front to
6472
proper right and one curl on the same side has been broken off.
6473
The marble is streaked with grey which is particularly evident on the
6474
bare chest. The turned socle is made from a separate piece of marble.
6475
This socle had been cracked and a small portion detached and
6476
inadequately glued-this was replaced with polyester stone cement
6477
in June 1969 by Kathleen Kimber and C. P. Bartram of the
6478
Department of Antiquities. They removed the dirty and waxy surface
6479
of the marble with methane chloride, an acetone swab, and a `pack'
6480
of scpolite (magnesium silicate) and washed it with dcionized water.
6481
Given to the University by the son of the sitter, Mr. Christopher
6482
Wren, in 1737. Displayed during the eighteenth century in the
6483
Picture Gallery, and, by the end of the nineteenth century, in the
6484
Tower Room, of the Bodleian Library. Transferred, by Decree of
6485
Convocation in 1916, to the Ashmolean Museum, at the instigation
6486
of C. F. Bell-gainst `considerable opposition'-nd displayed in
6487
the Founder's Room, then known as the Eldon Room, against the
6488
Gobclins tapestry of the combat of animals and in the company of
6489
French and Italian seventeenth- and eighteenth-century paintings.
6490
It was still placed there in 1931. For many years it was displayed in
6491
the Tapestry Gallery. It was removed in 1987 to the Weldon Gallery.
6492
The pedestal, apparently given it by Bell, consisted of a bulbous
6493
baluster support ( boldly gadrooned in its lower part and carved with
6494
acanthus in its stem such as one might expect for a sundial of the
6495
late seventeenth century), raised on a block of marble and with two
6496
additional blocks on top the uppermost of which, a cube of po#o
6497
pccecrc (black marble with liquid yellow veins), was removed when
6498
the bust was placed in the Weldon Gallery.
6499
The bust of the most popular of British architects is the most
6500
celebrated achievement of Pierce and one of the most loved
6501
of all British sculptures-`onc of those rare treasures, a great
6502
work of art which is also the portrait of a very great man'
6503
(R L. Poolc, `Edward Pierce the Sculptor', W¢/Po/G Soc¢.Gay,
6504
11 ( 1923), 40); `probably the best piece of sculpture made
6505
by an Englishman in the Century' (M. Whinney and 0. Millar,
6506
E„g/¢.£4 A7? 1625-1714 (Oxford, 1957), 255).
6507
The attribution to Pierce is made in a letter by the donor
6508
written in 1742 which was quoted by Vcrtue in his notebooks:
6509
`thc bust was the performance of Edward Pierce about the
6510
year 1673' (`Notebooks', v, W¢/Po/c Soc¢.cty, 26 ( 1938), 9).
6511
The drama of such a broad triangular composition upon a
6512
small turned socle and of voluminous drapery, hastily pulled
6513
across the chest, with loose shirt, and disordered locks each
6514
played off against the other, represent responses to Bernini's
6515
portrait bust of Franccsco I d'Este (completed in 1651) and
6516
its numerous imitators, responses sinilar to those of the
6517
French sculptor Antoine Coysevox.
6518
Coysevox's faces are frequently given the alert conviviality
6519
we see here and a comparison with his work is made by
6520
Whinney in her discussion of this portrait (op. cit.) but taken
6521
no further. And yet when the bust is examined in relation to
6522
@@PROCESS
6523
144
6524
Coysevox's bust of Charles Lebrun (the marble in the I.ouvre
6525
is dated 1679 but the terracotta in the Wallace Collection
6526
may be the model submitted to the Academy in 1676) it is
6527
surely only habit, supported by patriotism, that restrains
6528
scholars from wondering whether the Ashmolean's marble is
6529
not in fact a copy by Pierce of a lost bust, perhaps in fraSle
6530
terracotta, by Coysevox. The marble certainly looks like a
6531
copy: the boldness of the conception is simply not matched
6532
by an equivalent verve in the execution. And it is surely
6533
extraordinary that Pierce, had he invented a bust of this
6534
sophistication and vitality, should never have achieved
6535
anything comparable in his other bust portraits. His bust of
6536
Thomas Evans which he made in 1688 for the Painter-Stainers
6537
Company (Poole, op. cit., pl. XXIIIa) has similar ambitions,
6538
but it has nothing of this sweep in its drapery, whilst the
6539
empty arms give a feebleness to the whole treatment of the
6540
chest, and the curls of the wig are fat and coarse. If there was
6541
a model by Coysevox (or another French sculptor) which
6542
Pierce was copying, then there remains a problem of when
6543
and where it was made, for 1665, when we know Wren to
6544
have been in Paris, is too early a date, and although it is
6545
perfectly possible that Wren travelled to Paris again in the
6546
early 1670s, no such visit is recorded. An interesting later
6547
example of a distinguished Englishman obtaining a terracotta
6548
portrait by Coysevox in Paris is that of the diplomat and poet
6549
Matthew Prior (it was subsequently incorporated into his
6550
monument in Westminster Abbey).
Tr-
6552
BRITISH SCULPTURES, BY ARTIST'S NAME
6553
I:,,,,,,`::;:::..,.:`.:-::,-,;:-::::;;i::
6554
@@PROCESS
145
6556

                
6557
BRITISH SCULPTURES, BY ARTIST'S NAME
6558
After a work attributed to Edward PIERCE ( c.1630-95)
6559
@@PROCESS
6560
560. Portrait head probably of John
6561
rmton
6562
29.3 cms. (height)
6563
Plaster of I'aris coloured to resemble greyish yellow clay. Solid cast.
6564
Subscribed for by C. F. Bell in 1925 in his official capacity as Keeper
6565
of the Department of Fine Art and acquired in 1926 (A»7?#¢/
6566
Report`24).
6567
The cast is an accurate reproduction, including cracks and
6568
loose fillings, of the portrait, generally accepted as of Milton,
6569
in unbaked clay which was bequeathed to Christ's Couege,
6570
Cambridge, by the Revd John Disney in 1816, having passed
6571
through the collections of Thomas Brand Hohis, Sir Joshua
6572
Reynolds, and George Vcrtue. (For a full account of this see
6573
I .W . Goodison. Catalogtte Of the Portraits in Christ's, Clare
6574
¢"d Sz.¢„ey S#jrex Co//egcf ( Cambridge, 1985), 26-7, no. 54. )
6575
Vertue believed the clay head to be by Pierce, but Hollis
6576
recorded his `imprcssion' that it was `modelled by Abraham
6577
Simon' (jn4lc7„o¢.7tf (I.ondon,1780), ii. 513)-Simon was a
6578
noted medallist and wax modeller but no comparable-sized
6579
portrait by him seems to have survived. A marble copy of the
6580
clay head was made by Horace Montford in 1903 (Goodison,
6581
op. cit. 27, no. 56). In 1925 a cast of the clay head was made
6582
for the National Portrait Gallery (no. 2102), and six additional
6583
casts were subscribed for by the Master of Christ's College
6584
(Sir Arthur Shipley who bequcathcd it to his college in 1927),
6585
C. F. Bell, Sir Edmund Gosse, the Victoria and Albert
6586
Museum, the Scottish National Portrait Gallery (2102), and
6587
the National Gallery of victoria, Melbourne, Australia (ibid.
6588
27, no. 55. n. f). Bell had purchased what he believed to be
6589
Pierce's bust portrait of Cromwell in 1920 (No. 558) and
6590
had organized the transfer of the portrait of wren from the
6591
Bodleian in 1916 (No. 559).
6592
-th_
6593
BRITISH SCULPTURES, BY ARTIST'S NAME
6594
Frederick Wman POMEROY ( 1856-1924)
6595
After Niccol6 Tribolo ( 1500-50)
6596
@@PROCESS
6597
561. Piping satyr astride a vase
6598
28.1 cms. (height, including integral base); 1.15 cms. (height of
6599
integral base)
6600
Bronze with a dull dark brown patina worn to a pale tan on some
6601
salient curls and the shoulder blades. Hollow, lost-wax, cast. `Cast
6602
by F. W. Pomeroy from the oriSnal in the Bargell-for Mr
6603
Fortnum' is painted in white in the hollow interior of the base.
6604
Possibly part of the bequest of c. D. E. Fortnum (see description
6605
above) although unmentioned in his catalogues. More probably the
6606
`bronze figure of a satyr. Italian, sixteenth century' recorded with
6607
no provenance in the Donations Book under 1933 which cannot
6608
be identified with any other bronze now in the Ashmolean.
6609
The bronze satyr is a copy by Pomcroy of one in the Bargcllo,
6610
Florence (inventory number 390; no. 30 in the MS catalogue
6611
of 1879; previously Uffizi 2551-63) which had been suggested
6612
as a work by Michelangelo in the late nineteenth century.
6613
century. Since then it has been attributed to Pietro Tacca,
6614
Danese Cattaneo, and Tiziano Minio and, more vaguely, it
6615
has been regarded as `Paduan'. However, J. Holderbauni
6616
(`Notes on Tribol-I', 8%„/G.#:g}o# jl4:¢g#2;¢.#G (Oct. 1957),
6617
@@PROCESS
6618
340) pointed out the strong probabhity that it was the bronze
6619
docuinented as being cast for the grand duke of Tuscany by
6620
Zanobi I'ortiSani (de' Pagni) on 18 April 1549 from a model
6621
of `uno satiro' made by Tribolo. Pomeroy's copy is very
6622
accurate but the base is slightly less high and one of the horns
6623
has lost its cnd. Also of course in the original the erect penis
6624
is not concealed by a branch.
6625
Pomeroy was first apprenticcd to a firm of architectural
6626
carvers and studied at the Lambcth School of Art. Hc was
6627
then admitted to the Royal Academy Schools in December of
6628
1880. In the summer of 1885 he won the gold medal and
6629
travehing studentship which enabled him to study in Paris
6630
(under Merci€) and then in Italy. There seems to be no
6631
record of him returning to Italy, so if he copied the origival
6632
in Florence his model would date from this visit ( c.1886). In
6633
any case, the cast would have to have been made before
6634
Fortnum's death in 1899. The popularity of the small bronze
6635
statuette, the revival of lost-wax casting, and the fascination
6636
with nymphs, fauns, and satyrs so conspicuous in English
6637
sculpture in the last years of the nineteenth century are not
6638
easily connected with the tastes of scholarly collectors of
6639
Renaissance art such as Fortnum-xcept inasmuch as
6640
Fortnum was involved in the formation of the collection of
6641
the Victoria and Albcrt Museum. But that at least one direct
6642
link existed is suggested by the inscription on this bronze.
6643
What the inscription does not make clear is whether the idea
6644
of making such a copy cane from Fortnun. Even if it did,
6645
his was not the only cast that Pomcroy made.
6646
T`+.€. Pescrjp_i_i_p_: Catalogue of a Small Collection Principally
6647
a/XV£¢ ¢»d XVI£¢ Cc#f%ry 87o„zcf printed privately
6648
(apparently in an edition of 20 copics! ) in 1900 records the
6649
Collection of Henry Pfungst when it was sold to the dealers
6650
Durlacher and vycrtheimer who then sold it, in the surrmer
6651
@@PROCESS
147
6653

                
6654
BRITISH SCULPTURES, BY ARTIST'S NAME
6655
of 1901, to J. Picrpont Morgan. No. 15 on page 3 is `Figure.
6656
11 inches. I'an playing on the pipes, seated on an urn-shaped
6657
vase. Reproduction in the c¢.7c PG7i¢# process by F. W.
6658
Pomeroy, with a slight alteration from the origival in the
6659
Bargello, Florence, said to be the work of Michael Angelo.'
6660
It is interesting that Pfungst was a collector who was closely
6661
in touch with Fortnum (see No. 233 for transactions between
6662
them and Nos. 201 and 203 for other items from Pfungst's
6663
collection). Pfungst's version was not recorded in Bode's
6664
catalogue of Morgan's collection of bronzes (which confined
6665
itself to older items) but passed to the Brummer and Chester
6666
Tripp Collections and has recently been bequeathed to the
6667
Art Institute, Chicago. It differs from the Ashmolean cast
6668
only in that the base is not open and in that it carries two
6669
marks both incised in the wax model: on the base behind the
6670
vase there is a P and below the base a monogram consisting
6671
of a P with two Fs interlacing and a small 2 after it.
6672
Both the Ashmolean and Chicago casts declare themselves
6673
to be modern reproductions by the c¢c¢e-fc:A;c, but another
6674
cast without this and without any evident marks was sold by
6675
a descendant of Pomeroy's at Phillips, I.ondon, on 30 June
6676
1987 (lot 74). Various other casts without the c¢c¢G-fc#e arc
6677
recorded. One at Sotheby's, I.ondon, on 4 November 1988,
6678
lot 86, certainly looked like Pomeroy's work. Those for sale
6679
at the Chatcau de Laame, Brussels, C¢£Ofog#c dc /'erpof¢.£¢.o7¢
6680
de bronaes de la Renaissance (Se;pt.-Oct. +967)> no. 25 (ex
6681
cat. as by Tribolo) and as lot 295, Christie's, New York, 20
6682
November 1982 (as after Tribolo)-both drawn to my
6683
attention by Ian Wardroppcr-I have not seen. It is tempting
6684
to associate these latter two versions (conceivably the same
6685
version) with Pomcroy, but one other example in a public
6686
collection, that in the Walters Art Gallery, Baltimore (54.626,
6687
purchased from Jacques Scligmann in Paris in the carly
6688
decades of the century), looks like an aftercast which has been
6689
tooled, unlike the casts by Pomeroy, and is also of a different
6690
colour, which suggests that someone else may have been
6691
reproducing Tribolo's vigorous and lewd little S¢tyy. In this
6692
connection it is significant that a terracotta cast of the `Piccolo
6693
Satira da originale in bronzo di Pietro Tacca', 27 cms. in
6694
height, is listed (as no. 535, XLII) in the catalogue of the
6695
`Manifattura di Signa: Terre Cotte artistichc e decorative'
6696
which had premises in Florence (Via dc' Vecchietti 2), Rome
6697
(Via del Babuino 50), Turin (Via Accademia Albertina 5),
6698
and Paris (rue Chaussee d'Antin 12) dating from about 1910.
6699
@@PROCESS
6700
148
6701
;:;..,;T,;,..\,.,,,,"ys,,.::,,giv::is!Hifegiv,:]i
6702
-
6703
BRITISH SCULPTURES, BY ARTIST'S NAME
6704
Frederick William POMEROY ( 1856-1924)
6705
@@PROCESS
6706
562. Perseus with the head of
6707
Medusa
6708
50 cms. (height including integral plinth); 3 cms. (height of
6709
plinth); 11.35 cms. (length of plinth); 9.45 cms. (width of plinth)
6710
Copper with a warm pale tan patina. Electrodeposit. The interior of
6711
the integral plinth reveals the bubbled texture characteristic of this
6712
process. `F. W. POMERoy. / Sc 1898.' is inscribed on the proper left
6713
side of the base; `N° 6C' betvireen the hero's feet.
6714
Bequeathed by the Revd J. W. R. Brocklebank in November 1926.
6715
No.13 in Andrew Shirley's receipt of January 1927 as `A Statuette,
6716
St. George, holding head and sword'.
6717
Pomcroy exhibited `Perseus; as a symbol of the subduing and
6718
resisting of Evil, Statuc' at the Royal Academy exhibition in
6719
1898 (no.1964). This has been asstimed to be the life-size
6720
bronze in the National Museum of wales, Cardiff, but a
6721
letter in the Department's archive from Pomeroy's widow,
6722
Patricia Payne, dated 27 March 1928, confirms that it was a
6723
plaster cast that was exhibited. The small bronze versions are
6724
common at London auctions and arc found in several public
6725
collections: the Victoria and Albert Museum; the Laing Art
6726
Gallery, Newcastle upon Tyne; the Stirling Maxweu
6727
Collection, Pollok House, Glasgow. They are by no means
6728
all of the same quality. The Victoria and Albert's version is a
6729
lost-wax cast with a lively surface; others such as the
6730
Ashmolean's have the dead uniformity of the electrodeposit.
6731
They also differ in several respects from the life-sized work:
6732
most notably, the hero's lips are parted and his eyelids raised.
6733
But there is also some variety in details between the reduced
6734
versions.
6735
The Ashmolean's is unusual in not having `Perseus' in
6736
Greek characters on the front face of the plinth. There are
6737
also differences in the design of the snakes suspended from
6738
the head of Medusa. In the version at Christie's, Ijondon, 29
6739
September 1989 (lot 257), they were knotted, in the version
6740
at Phillips, Ijondon, 30 June 1987 (lot 75), they curled to
6741
proper right, and so on. The number on the Ashmolean's
6742
version is unusual although a version at Sotheby's, Ijondon,
6743
23 June 1987 (lot 81), was nulnbered `N° 6C['. However, all
6744
versions that I have seen have been dated 1898 and this may
6745
well be the date of the model, which is likely to be preliminary
6746
to the creation of the hfe-sized work. The date at which the
6747
bronzcs were made is not certain, but one was exhibited in
6748
1902 at the Fine Art Society's `Sculpture for the Home'
6749
exhibition. The casts were then sehing for 30 guineas each.
6750
(S. Beattie, 7%G Niow7 Sc#/Pf"re (New Haven, Conn., and
6751
London,1983),199, citing an annotated copy of the
6752
catalogue.) Many of the small casts retain oriSnal pedestals
6753
which are almost always of pG#de d¢. P"¢}o (Tuscan serpentine).
6754
Beattie justly observes of the PGrJc#f that it recalls the
6755
famous D¢p¢.¢ exhibited at the Salon in Paris in 1872 by
6756
Mercie, with whom Pomeroy had studied in 1885 after he
6757
won the Royal Academy travelling scholarship. The D¢p¢.d
6758
was extensively available as a bronze of a similar size to the
6759
small bronze Perseus. Pomcroy's figure also recalls the heroic
6760
male nudes of Gilbert (Nos. 497-8, 505) and of course the
6761
bronzes of the Renaissance which had bccn an inspiration to
6762
both Merci€ and Gilbert. The accessories contrive to allude
6763
to the hero's other adventures: the hilt of his sword takes the
6764
form of Andromeda bound and at the mercy of the sea
6765
monster which is wound around the guard; the winged horse,
6766
Pegasus, forms the crest of his helmet. This latter creature
6767
seems to be modelled on a small Renaissance bronze of
6768
similarly sketchy character an example of which, in Fortnun's
6769
collection (8. 438), Pomeroy, who worked for Fortnuni (see
6770
No. 561), may well have studied. There are other instances in
6771
Pomeroy's bronzes of his close acquaintance with Renaissance
6772
bronzes. He even initiated for his small bronze of the young
6773
B¢cc¢#J (possibly exhibited 1890 but most casts are dated
6774
1903) a type of triangular base with hoof feet employed by
6775
Severo da Ravenna.
6776
@@PROCESS
149
6778

                
6779
BRITISH SCULPTURES, BY ARTIST'S NAME
6780
Jancs PRYDE ( 1866-1941 )
6781
@@PROCESS
6782
563. John Willet
6783
38 cms. (height including integral plinth); 8 cms. (height of
6784
integral plinth); 14.9 cms. (length of integral plinth); 10.8 cms.
6785
(width of integral plinth)
6786
Wood, probably Honduras mahogany, carved and painted. The
6787
plinth is integral: a slight vertical opening in both sides of it and in
6788
the stump support reveals a join. The figure has probably been
6789
carved from three blocks joined vertically; hints of the join of the
6790
third smaller piece may be found in the belly and beer jug. There
6791
are small chips to the plinth at proper lower left front comer and
6792
lower right back comer. The colours of the paint (shades of brown
6793
and khaki grey) other than black may have darkened but are always
6794
likely to have been smoky. The colour of the mahogany shines
6795
through the black paint in a few worn areas. The name `John Willet'
6796
painted in black on the front face of the plinth is slightly worn in
6797
the last letters.
6798
Purchased for £5,500 from the exhibition of Pryde's work at the
6799
Redfem Gallery, 20 Cork St (22 Sept.-26 0ct. 1988), where it was
6800
no. 21 (illustrated in the catalogue). Purchase finalized on 9
6801
December 1988 using the Bouch Bequest Fund (£1,500), the
6802
France Fund (£1,000), and the Mary Freeman Bequest Fund
6803
(£3,000). The sculpture was sold through the Redfern Gallery by
6804
Peyton Skipwith of the Fine All Society. Mr Skipwith bought it
6805
from Marguerite Steen. She inherited it from the artist's friend,
6806
brother-in-law, and collaborator Sir William Nicholson. Previous to
6807
this it belonged to Barney Scale.
6808
Derek Hudson in /¢owGf Prydc (I.ondon, 1949), 58 and 98,
6809
discusses this statuette and illustrates it or a version of it
6810
(pl. XIII). `A friend remembers him [Prydc] sitting in a swivel
6811
chair, working on some little figure, but ready to swing round
6812
to his easel at the first sign of his wife's approach! His statuette
6813
of O/d/oA# W¢.//cf, the landlord of the "Maypole" in ow¢ky
6814
R„dz7G, is typical of the large Rabelaisian. quality and strong
6815
virile understanding that gave us /o„oc¢f. ' Hudson records
6816
the statue as of plaster and there may have been another
6817
version, perhaps a cast of this one, in that medium, but this
6818
statucttc is not at first sight obviously of wood. The sculpture
6819
is undatcd but the rhythmic stylization of the bulgivg
6820
rotundities is very suggestive of the imagery which Pryde and
Nicholson invented together in their woodcuts of the mid-
6822
1890s where the traditional British tradesman and servant
6823
class often have a menacing appearance-although the
6824
grotesque buufrog proportions and protruding eyes of this
6825
figure are more grotesque than anything there. They are also
6826
unlike anything else in British art and were perhaps suggested
6827
by Daumier. It reminds us of Prydc's fascination with the
6828
stage and with the eighteenth century of Hogarth, but also
6829
of his alcohohsm which must have endowed a supplier such
6830
as Wiuet with a nightmare status.
6831
BRITISH SCULPTURES, BY ARTIST'S NAME
6832
Charles dc Souay RICKETTS RA ( 1866-1931 )
6833
With the workshop of c. and A. Giuliano
6834
@@PROCESS
6835
564. Pendant medallion portrait of
6836
Ryllis Hacon in a framework of
6837
scrolls and leaves
6838
9.7 cms. (height, including suspension loop); 5.9 cms. (width);
6839
3.15 cms. (diameter of medallion)
6840
Gold with enamcls, pearls, precious, and semi-precious stones. The
6841
profile head is embossed on a circular medallion of thin gold. `C.R'
6842
is scratched beneath the bun and the neck. This medallion is backed
6843
by a thicker plate of gold with chanplev6 enamels of blue and green
6844
and is set in a framework consisting of gold scrolls with c/o¢.fo#7?c'
6845
white and blue enamels and of leaves with green enamel. The green
6846
and blue enamels are G» 4¢j:tc }#¢.//c (translucent to reveal the ribbed
6847
surface of the gold below). The leaves at the top form a mask, its
6848
eyes set with rubies or gamets and its mouth perforated with a larger
6849
ruby or garnet within it. Attached to the franc arc four irregular
6850
emeralds and two irregular rubies set in claws, and five pearls set in
6851
cups. In addition three baroque pearls are suspended from the
6852
frame, the larger, central one, below a sapphire. From the back it is
6853
clear that the two claws holding the rubies are of a warmer gold than
6854
the frame and have been soldered on to it: so these may represent
6855
a revision to the origival design. There is a reinforcement in the
6856
same warmer gold to the claw holding the emerald to proper left of
6857
the lower part of the fromc.
6858
Given by Mrs Robichaud (nee Hacon) of Overstys Cottage,
6859
Domoch, Scotland, in memory of w. IJewcllyn Hacon (her father).
Registered on 20 June 1952. Placed on display with the late-nineteenth-
6861
century British bronzcs in May 1989.
6862
Ryllis (for Amaryllis) was the name by which Edith Broadbent,
6863
a noted beauty and model, was known in artistic circles. She
6864
married Llewellyn Hacon, a wealthy lawyer who was the
6865
partner of Charles Rickctts and his ffiend Charles H. Shannon
6866
in the Vale Press-the chief venture in the lives of these two
6867
artists between 1896 and 1904. She had previously been a
6868
favourite model of Shannon's. The pendant is said to date
6869
from 1900 and was perhaps presented by the artist to the
6870
sitter. RIcketts seems to have begun making designs for
6871
jewcllcry in 1899. Certainly the first of his designs which is
6872
documented as having actually been realized was a pendant,
6873
intended to be won by Icarus in one of his paintings,
6874
presented to his friend, the poet Katherine Bradley, in 1899.
6875
An album in the British Museum entitled by RIcketts
6876
`Dcsigns for Jewels done in RIchmond 1899' ( 198a.43)
6877
includes other designs incorporating similar scrolls and leaves
6878
and a mask in the frame ( 1962-8-9-2 ( 1 ), (2), (3) ). The
6879
preliminary drawing for this jewel is included in this album
6880
(ibid. (37) ). It differs in that the blue enamel in the scrolls is
6881
unbroken, the sapphire is a ruby, there is only one central
6882
baroque pearl, and no rubies are attached to the sides.
6883
Ricketts was not the first British painter in this period to
6884
have been keenly involved in the design of jcwcuery. It was,
6885
in particular, an intcrcst of Burne-Jones in his late years. There
6886
Charles Ricketts original design for the
6887
Hacon pendant (above) and
6888
preliminary sketch probably for the
6889
same (below). British Museum
6890
@@PROCESS
151
6892

                
6893
BRITISH SCULPTURES, BY ARTIST'S NAME
6894
had also been many instances of special jewels being made in
6895
order to be included in paintings, especially those of an
6896
archacolodcal character (see C. Gerc and G. Munn, Arfz.fff'
6897
/c.n7c//cry (I.ondon,1989), for this phenomenon). RIcketts's
6898
involvcmcnt is of particular significance, because it was through
6899
jcwcllery, then attracting leading British sculptors such as
6900
Gilbert and Frampton, that he discovered his talents as a
6901
sculptor, to which indeed he turned in 1905 after hc ceased
6902
to design jcwcllcry. In the case of this pendant the embossed
6903
relief is entirely by RIcketts (said to have been executed with
6904
a penknife and lead pencil). The setting, as was usual with
6905
his jewels, was not made by him but was designed by him,
6906
carefully supervised by him, and probably revised (as is
6907
suggested by both comparison with the drawing and
6908
examination of the gold) to suit him.
6909
Next to the drawings for this jewel in the album in the
6910
British Museum is another, sketchier and uncoloured, in pen
6911
for a framed profile portrait (ibid. (38) ), which has something
6912
of the calligraphic freedom of Gilbert. It is likely to be an
6913
early idea for the Hacon jcwcl but in it the lines of the hair
6914
are taken up in the composition of the frame. It is also
6915
noteworthy that in the drawing the profile faces right, as is
6916
more usual. No doubt Mrs Hacon faces left because the
6917
embossing was carried out for the most part on the reverse
of the medallion. The most ambitious of RIcketts's jewels-
6919
`a pendant of pendants which will tear all lace and scratch
6920
babies'-was completed in March 1904 as a betrothal Sft
6921
for Maria Appia and Thomas Sturge-Moore (today in the
6922
Fitzwilliam Museum). In it the coloured stones and ornament
6923
are fully integrated with bolder rclicf sculpture-which
6924
rcprcscnts the Descent of Psyche into Hell-whereas in this
6925
cahier work frame and portrait were conceived of, and indeed
6926
created, separately. The leaf ornament at the top of the frame
6927
in the Ashmolcan's pendant, forming a grotesque mask of
6928
green enamel with stones set in the eyes and open mouth,
6929
was to be repcatcd more boldly in the Descent of Psyche
6930
pendant, but there it has a symbolic meaning, suggesting
6931
Psyche's teinfying destination, whereas it has no such
6932
relationship with Mrs Hacon (one hopes).
6933
All of RIcketts's jewellery was executed by, or rather with,
6934
`Giuliani frores', that is the workshop of Arthur Alphonse
6935
Giuliano ( c.1864-1914). Arthur was the son of carlo Giuliano
6936
(c.183l-95), a Neapolitan by birth, who came to London in
6937
about 1860, probably with the great Italian jewcllcr,
6938
goldsmith, antiquarian, dealer, and collector Alessandro
6939
Castellani who had bccn based in Paris, but is known to have
6940
wanted to open premises in I.ondon in the early 1860s.
6941
Giuliano, who had certainly been an associate and probably
6942
an employee of Castcllani, may have been proposed as the
6943
I.ondon manager but he set up independently with a
6944
workshop in Frith Street and in 1874 opened his own shop
6945
at 115 Piccadilly. The business was inherited by his sons Carlo
6946
Joseph and Arthur Alphonse, but the former seems not to
6947
have bccn active in it. Both Carlo and his son Arthur were
6948
accomplished `rcvivalist' jewcllers imitating, and on occasion
6949
replicating, Egyptian, Etruscan, Greek, Gothic, Renaissance,
6950
and lndial\ wock. (G. C. Mann. Castellani and Gittliani
6951
(Fribourg, 1984), 47-75, cspccially 47-55 for an introduction
6952
@@PROCESS
6953
152
6954
to the Giuliani, 68-9 for the work of Ricketts, pls. 29-30,
6955
and captions on page 35 for this pendant.)
6956
For Ricketts and the Hacons see J. C. P. Delaney, Cho7i/cJ
6957
R£.c4c#r (Oxford,1991), 95 and 140.
6958
BRITISH SCULPTURES, BY ARTIST'S NAME
6959
I.ouis-Fran¢ois ROUBILIAC ( 1702 or 1705nd2)
6960
@@PROCESS
6961
565. Modello for the monument to
6962
George Frideric Handel in
6963
Westminster Abbey
6964
98 cms. (height)
6965
Terracotta and plaster of Paris. The background is of terracotta
6966
above the dado mouldings at the height of the figure's waist. There
6967
arc several breaks in it all of which have been repalrcd. It is attached
6968
by plaster to a slab of slate to which the lower portion of the
6969
background, which is of wood and plaster, is also fixed. The plaster
6970
has been coloured to match the terracotta. The figure with papers,
6971
table, draperies, and horn arc of terracotta, hollowed out to some
6972
extent behind. There are also several holes in the rear, one of which
6973
pierces the model entirely bctwecn the figure's legs. The figure
6974
appears to have been given a plaster base, coloured to match the
6975
clay, but it is possible that this base is of terracotta extensively
6976
reinforced with plaster. There are several obvious repair lines: on
6977
the horn, and at the top of the shcct music, for example. One corner
6978
of the sheet music has been made up with plaster as has a large
6979
portion of the first fold of the coat to proper right. After examination
6980
by X-ray and binocular microscope at the Victoria and Albert
6981
Museum in 1984 a report was submitted to the Keeper (in the form
6982
of a letter from Malcolm Baker dated 23 October) suggesting that
6983
the surface was at one time covered in white paint. The report also
6984
pointed out that the composer's right arin was modelled separately
6985
and inserted into the sleeve. This is in fact evident without artificial
6986
aids, for the arm is modelled entirely in the round and yet placed
6987
only a hair's breadth from the body. Examination with the naked
6988
eye also reveals that the lower part of the composer's left leg was
6989
separately modelled. The portion of the cloak which has been made
6990
up with plaster was loosened during the examination of the work
6991
in October 1984 and subsequently reattached.
6992
Given by James Wyatt in 1848 to the University Gallery (Donations
6993
Book, p.11). Mr. Wyatt was an alt dealer, print publisher, franc
6994
maker, and picture restorer in Oxford's High Street whose firm had
6995
many close associations with the University Galleries in its early
6996
years. Scc also No. 542. The %ode//a seems to have been placed on
6997
a pedestal veneered with yGzde ¢#Jfro (green and grey-green breccia).
6998
In more recent years it has been supported on a pedestal of wood
6999
covcrcd with the blue brocade of the walls of the Chambers Hall
7000
Gallery in which it is placed. The H¢»dfroo4 G#¢.def reveal that it
7001
was in the Fortnum Room in 1909 and the RIffaello Room in
7002
1931, and photographs show it in the Hill Music Room in the
7003
1950s. The pcrfe a"f¢.co would have matched the Music Room
7004
skirting.
7005
Roubhiac's famous monument to Handel in Westminster
7006
Abbey was commissioned with the ftoo which the composer
7007
left for this purpose in his win. A fee was paid to the Abbey
7008
in 1759, the year of the composer's death, and the monument
7009
was unveiled on 10 July 1762 according to the GGce*/G%¢%'J
7010
A4¢gr¢zG.#c, 32: 340. The Ashmolean model differs in few
7011
details fi.om the marble. In the latter the composcr's irises arc
7012
unmarked and, since his index finger has been broken off,
7013
We cannot be certain that it pointed to heaven. Also in the
7014
marble the lower sheet is chiselled with the word `MESSIAH'
7015
and the higher with `Larghctto / I know that my Redeemer
7016
liveth / and that Hc shall stand / . . . at the last . . .'
7017
There is a smaller terracotta model (35.7 cms. in height)
7018
said to have been found in recent years in a Bristol antique
7019
shop and subsequently sold to `the Gerald Coke Handel
7020
Collcction' (reproduced in colour in the catalogue of the
7021
=r±Ibiti?n R?c?:.o: Art and Desizgn in Hogarth'-s England
7022
(Victoria and Albert Museum, 16 May-30 Sept. 1984),
7023
pl. XXVI). In this smancr version the angel is placed nearer
7024
to the composer, the feet seeming to touch his head which
7025
is here covered with a nightcap; the composer does not look
7026
up as if rapt by t:he angelic harping, but vacantly out to his
7027
left; he has his right hand on the further edge of his score and
7028
his left also on it at the top left-hand corner. Some passages
7029
of modelling-most notably the draperies and legs of the
7030
harpisrrirc lively but perfunctory, the hands, being
7031
summary, look feeble, and the unbroken ffll of the composcr's
7032
cloak is heavy and dull. The handling, however, with its dabs
7033
and pokes, is quite close to that of the model for the
7034
monument to John, 2nd duke of Montagu (Victoria and
7035
Albert Museum, A.6-1947).
7036
The working of the clay in the Ashmolean model is unusual
7037
for its careful finish and most unusual on account of the
7038
modelling and the texture of the composcr's hands and face
7039
which make them more refined and more vital than anything
7040
in any surviving small terracotta by the sculptor. The texture
7041
is achieved by hatching with a fine tool in the clay when it
7042
was leather-hard. This is also found in the high-relief bust
7043
portrait of Oliver Cromwcn in the Royal Ontario Muscun,
7044
Toronto (959.492), but not, for example, in the face of
7045
Handel in the model for his statue in Vaurhall Gardens
7046
(Fitzwilliam Museum, M3-1922). It is more typical of
7047
Rysbrack's work on this scale (the face of Ncvlon in the
7048
model for his monument is a striking example-Victoria and
7049
Albert Museum, A.1-1938). The handling of the raised hand
7050
especially may be compared with that in some sculpture by
7051
Jean-Baptiste I,emoyne, such as the terracotta bust of
7052
Fontenellc in the Mus6c des Beaux-Arts, Lyon ( 1974-4).
7053
There were four `dcsigns' for `Mr. Handen' in lot 70 on
7054
the second day of Roubiliac's studio sale at hagford's,
7055
Ijondon, 13 May 1762, and these might weu have been
7056
terracotta sketches and have included this piece.
7057
Although catalogued in the Rococo exhibition (cited above,
7058
no. S 46, p. 307) as `attributed to Roubiliac', the compiler
7059
has since informed me that he has no doubts concerning its
7060
status. Its tcchniquc is certainly peculiar: but the combination
7061
of plaster and terracotta, whilst in pa]t due to restoration, is
7062
certainly also in part origival and is characteristic of Roubihac,
7063
as may be seen, for instance, from the way a plaster soclc is
7064
attached to his terracotta bust of Hogarth in the National
7065
Portrait Gallery.
7066
A sample was taken from the terracotta by Mrs Doreen
7067
Stonehan of the Oxford Research Laboratory for
7068
Archaeology and the History of Art in March 1987 and
7069
thermo-lumincsccncc tests suggested a date between 1767
7070
and 1847 (ref. 48l-a-30). If this result is trusted then the
7071
possibility of the model being made after the marble was
7072
complctcd should be considered.
7073
@@PROCESS
153
7075

                
7076
BRITISH SCULPTURES, BY ARTIST'S NAME
7077
had also been many instances of special jewels being made in
7078
order to be included in paintings, especially those of an
7079
archaeolodcal character (see C. Gere and G. Munn, Arfz.fff'
7080
JowG//ey (Ijondon, 1989), for this phenomenon). Rickctts's
7081
involvementisofparticularsignificance,becauseitwasthrough
7082
jewellery, then attracting leading British sculptors such as
7083
Gilbert and Frampton, that he discovered his talents as a
7084
sculptor, to which indeed he tuned in 1905 after he ceased
7085
to design jewellery. In the case of this pendant the embossed
7086
relief is entirely by RIcketts (said to have been executed with
7087
a penknife and lead pencil). The setting, as was usual with
7088
his jewels, was not made by him but was designed by him,
7089
carefuuy supervised by him, and probably revised (as is
7090
suggested by both comparison with the drawing and
7091
examination of the gold) to suit him.
7092
Next to the drawings for this jewel in the album in the
7093
British Museuni is another, sketchier and uncolourcd, in pen
7094
for a framed profile portrait (ibid. (38) ), which has something
7095
of the calligraphic freedom of Gilbert. It is likely to be an
7096
early idea for the Hacon jewel but in it the lines of the hair
7097
are taken up in the composition of the frame. It is also
7098
noteworthy that in the drawing the profile faces right, as is
7099
more usual. No doubt Mrs Hacon faces left because the
7100
embossing was carried out for the most part on the reverse
of the medallion. The most ambitious of Rickctts's jewels-
7102
`a pendant of pendants which win tear all lace and scratch
7103
babies'-was completed in March 1904 as a betrothal aft
7104
for Maria Appia and Thomas Sturgc-Moorc (today in the
7105
Fitzwilliam Museum). In it the coloured stones and ornament
7106
are fully intcgratcd with bolder rehef sculpture-which
7107
represents the Descent of Psyche into Hell-whereas in this
7108
earlier work frame and portrait wcrc conceived of, and indeed
7109
created, separately. The leaf ornament at the top of the frame
7110
in the Ashmolean's pendant, forming a grotesque mask of
7111
green enamel with stones set in the eyes and open mouth,
7112
was to be repeated more boldly in the Descent of Psyche
7113
pendant, but there it has a symbolic meaning, suggesting
7114
Psyche's terrifying destination, whereas it has no such
7115
relationship with Mrs Hacon (one hopes).
7116
AIl of Rickctts's jewellery was executed by, or rather with,
7117
`Giuliani frercs', that is the workshop of Arthur Alphonse
7118
Giuliano(c.1864-1914).ArthurwasthesonofcarloGiuliano
7119
(c.183l-95), a Neapolitan by birth, who came to ljondon in
7120
about 1860, probably with the great Italian jcwellcr,
7121
goldsmith, antiquarian, dcalcr, and couector Alessandro
7122
Castellani who had been based in Paris, but is known to have
7123
wanted to open premises in London in the early 1860s.
7124
Giuliano, who had certainly been an associate and probably
7125
an cmployce of Casteuani, may have been proposed as the
7126
I.ondon manager but hc set up independently with a
7127
workshop in Frith Street and in 1874 opened his own shop
7128
at 115 Piccadilly. The business was inherited by his sons Carlo
7129
Joseph and Arthur Alphonse, but the former seems not to
7130
have been active in it. Both Carlo and his son Arthur were
7131
accomplished `revivalist' jewellers imitating, and on occasion
7132
rephcating, Egyptian, Etruscan, Greek, Gothic, RenaissaTce,
7133
and Indian work. (G. C. Munn, C¢f££//¢„G. ¢„¢ G¢.#/¢.¢»¢
7134
( Fribourg,1984), 47-75, especially 47-5 5 for an introduction
7135
@@PROCESS
7136
152
7137
I
7138
to the Giuliani, 68-9 for the work of RIckctts, pls. 29-30,
7139
and captions on page 35 for this pendant.)
7140
For RIckctts and the Hacons see I. C. P. Delaney, C¢¢#JGJ
7141
A;cfec#f (Oxford,1991), 95 and 140.
7142
BRITISH SCULPTURES, BY ARTIST'S NAME
7143
Ijouis-Fran¢ois ROUBILIAC ( 1702 or 1705nd2)
7144
@@PROCESS
7145
565. Modello for the monument to
7146
George Frideric Handel in
7147
Wesrfuster Abbey
7148
98 cms. (height)
7149
Terracotta and plaster of Paris. The background is of terracotta
7150
above the dado mouldings at the height of the figure's waist. There
7151
arc several breaks in it all of which have been repaired. It is attached
7152
by plaster to a slab of slate to which the lower portion of the
7153
background, which is of wood and plaster, is also fixed. The plaster
7154
has been coloured to match the terracotta. The figure with papers,
7155
table, draperies, and horn are of terracotta, hollowed out to some
7156
extent behind. There are also several holes in the rear, one of which
7157
pierces the model entirely between the figure's legs. The figure
7158
appears to have been given a plaster base, coloured to match the
7159
clay, but it is possible that this base is of terracotta extensively
7160
reinforced with plaster. There are several obvious repair lines: on
7161
the horn, and at the top of the sheet music, for example. One corner
7162
of the sheet music has been made up with plaster as has a large
7163
pordon of the first fold of the coat to proper right. After examination
7164
by X-ray and binocular microscope at the Victoria and Albert
7165
Museum in 1984 a report was submitted to the Keeper (in the form
7166
of a letter from Malcolm Baker dated 23 October) suggesting that
7167
the surface was at one time covered in white paint. The report also
7168
pointed out that the compo§er's right arm was modelled separately
7169
a.nd inscrtcd into the sleeve. This is in fact evident without artificial
7170
aids, for the arm is modelled entirely in the round and yet placed
7171
only a halr's breadth from the body. Examination with the naked
7172
eye also reveals that the lower part of the composer's left leg was
7173
separately modelled. The portion of the cloak which has been made
7174
up with plaster was loosened during the examination of the work
7175
in October 1984 and subsequently reattached.
7176
Given by James Wyatt in 1848 to the University Gallery (Donations
7177
Book, p.11). Mr. Wyatt was an art dealer, print publisher, fromc
7178
maker, and picture restorer in Oxford's High Street whose firm had
7179
many close associations with the University Galleries in its early
7180
years. See also No. 542. The owode//a sccms to have been placed on
7181
a pedestal vcncered with pG#de ¢„f¢.co ( green and grey-green brcccia).
7182
In more recent years it has been supported on a pedestal of wood
7183
covered with the blue brocade of the walls of the Chambers Hall
7184
Gallery in which it is placed. The H¢„d4oofe G#¢.def rcvcal that it
7185
was in the Fortnum Room in 1909 and the Raffaello Room in
7186
1931, and photographs show it in the Hill Music Room in the
7187
1950s. The pe7rfe ¢"f¢.co would have matched the Music Room
7188
skirting.
7189
Roubiliac's famous monument to Handel in Wcstminstcr
7190
Abbey was commissioned with the £600 which the composer
7191
left for this purpose in his will. A fee was paid to the Abbey
7192
in 1759, the year of the composer's death, and the monument
7193
was unveiled on 10 July 1762 according to the GG"£/Gow¢7?'f
7194
A44[g¢zG.#G, 32: 340. The Ashmolean model differs in few
7195
details from the marble. In the latter the composer's irises are
7196
unmarkcd and, since his index finger has been broken off,
7197
wc cannot be certain that it pointed to heaven. Also in the
7198
marble the lower sheet is chiscued with the word `MESSIAH'
7199
and the higher with `Larghetto / I know that my Redeemer
7200
liveth / and that He sham stand / . . . at the last . . .'
7201
There is a smaller terracotta model (35.7 cms. in height)
7202
said to have been found in recent ycar§ in a Bristol antique
7203
shop and subsequently sold to `thc Gerald Coke Handel
7204
Collection' ( reproduced in colour in the catalogue of the
7205
c;xhilkjlfi urn Rococo: An and Design in Hogarth's England
7206
(Victoria and Albert Museum, 16 May-30 Sept. 1984),
7207
pl. XXVI). In this smaller version the angel is placed nearer
7208
to the composer, the feet seeming to touch his head which
7209
is here covered with a nightcap; the composer does not look
7210
up as if rapt by the angelic harping, but vacantly out to his
7211
left; he has his right hand on the further edge of his score and
7212
his left also on it at the top left-hand corner. Some passages
7213
of modelling-most notably the draperies and legs of the
7214
harpist-rc lively but perfunctory, the hands, being
7215
summary, look feeble, and the unbroken fall of the composer's
7216
cloak is heavy and dull. The handling, however, with its dabs
7217
and pokes, is quite close to that of the model for the
7218
monument to John, 2nd duke of Montagu (Vlctoria and
7219
Albcrt Museum, A.6-1947).
7220
The working of the clay in the Ashmolean model is unusual
7221
for its careful finish and most unusual on account of the
7222
modelling and the texture of the composcr's hands and face
7223
which make them more refined and more vital than anything
7224
in any surviving small terracotta by the sculptor. The texture
7225
is achicvcd by hatching with a fine tool in the clay when it
7226
was leather-hard. This is also found in the high-relief bust
7227
portrait of Ohvcr Cromweu in the Royal Ontario Museum,
7228
Toronto (959.492), but not, for example, in the face of
7229
Handel in the model for his statue in Vauxhan Gardens
7230
(Fitzwillian Museum, M3-1922). It is more typical of
7231
Rysbrack's work on this scale (the face of Newton in the
7232
model for his monument is a striking example-Victoria and
7233
Albert Museum, A.I-1938). The handling of the raised hand
7234
especially may be compared with that in some sculpture by
7235
Jean-Baptiste Lemoyne, such as the terracotta bust of
7236
Fontenene in the Mus6e des Beaux-Arts, Lyon ( 1974-4).
7237
There were four `designs' for `Mr. Handell' in lot 70 on
7238
the second day of Roubihac's studio sale at I.angford's,
7239
I.ondon, 13 May 1762, and these might well have bccn
7240
terracotta sketches and have included this piece.
7241
Although catalogued in the Rococo exhibition (cited above,
7242
no. S 46, p. 307) as `attributed to Roubiliac', the compiler
7243
has since informed me that he has no doubts concerning its
7244
status. Its technique is certainly peculiar: but the combination
7245
of plaster and terracotta, whilst in part due to restoration, is
7246
certainly also in part origival and is characteristic of Roubiliac,
7247
as may be seen, for instance, from the way a plaster socle is
7248
attached to his terracotta bust of Hogarth in the National
7249
Portrait Gallery.
7250
A sample was taken from the terracotta by Mrs Doreen
7251
Stoneham of the Oxford Research I.aboratory for
7252
Archaeology and the History of Art in March 1987 and
7253
thermo-luminescence tests suggcstcd a date between 1767
7254
and 1847 (ref. 48l-a-30). If this result is trusted then the
7255
possibility of the model being made after the marble was
7256
completed should bc considered.
7257
@@PROCESS
153
7259

                
7260
BRITISH SCULPTURES, BY ARTIST'S NAME
7261
BRITISH SCULPTURES, BY ARTIST'S NAME
7262
@@PROCESS
7263
154
7264
John Michael RYSBRACK ( 1694-1770)
7265
@@PROCESS
7266
566. Bust portrait of John
7267
Churchill, lst duke of Marlborough
7268
63.3 cms. (height of bust excluding pedestal); 59 cms. (width of
7269
bust); 28.8 cms. (height of pedestal); 35.5 cms. (length of
7270
pedestal); 25.6 cms. (width of pedestal); 116.4 cms. (height of
7271
sub-pedestal); 37.2 cms. (length of sub-pedestal); 25.6 cms.
7272
(width of sub-pedestal)
7273
White Carrara marble considerably discoloured. Small chips have
7274
been lost from one of the leaves in the hair and from the uppemost
7275
fold of drapery at the front of the chest. On the base of the bust at
7276
t:he rear are traces of black letters spelling: `|oHN DUKE
7277
oF/ MARLBORoUGH'. On the front of the pedestal a I.atin text is
7278
chiselled which is translated behind: `Princc of the Roman Empire
7279
8cc / The Rescuer of the hibcrtics of ENGIAND and
7280
HOLIAND / when in the most Imminent Danger. / The Subduer
7281
and Scourge / of FRANCE when in its / Height of Power. / The
7282
Deliverer and Protector / of GERMANy / when at the Point of
7283
Ruin. /Who through the whole course / Of a Ten Years Vigorous
7284
WAR, / In Repeated Attacks / Upon the Enemies Armies, and
7285
continual / Assaults Upon their Strong Towns, / Never once fulcd
7286
of success.' Below this on the plinth of the pedestal is the
7287
supplementary infomation (not in I.atin on the front): `Battles
7288
gained .... 5 / Strong Towns that Surrendered without Siege
7289
16 / Strong Towns besieged and taken . . . 24'. The equivalent area
7290
of the front of the plinth is chiselled with the words: `Illustrissima
7291
Vidua, Digna tali Tantoq Viro / D:D: Academiae Oxoniensi A:D:
7292
MDCCXXX.' The English translation is also inscribed on a white
7293
marble tablet set in a mottled grey marble surround in the Museum
7294
store. This presumably once served as a base.
7295
- Flffifu
7296
Prcscnted by Sarah, duchess of Marlborough, to the Bodleian hibrary
7297
in 1730. Transferred to the Ashmolcan Museum in 1926 (A»»"a/
7298
Rcporf, 24) together with the bust of Gladstonc by Woolner
7299
(No. 597). By the mid-1950s the bust was displayed together with
7300
Nos. 558 and 559.
7301
There are, as Margaret Webb pointed out (A4¢.choc/ ftyy4r¢cfe
7302
Sc"/Pfo7 (Ilondon,1954), 95), two busts of the duke of
7303
Marlborough by Rysbrack, one in contemporary armour and
7304
a long wig (Blenhcim Palace), and the other wearing a wreath,
7305
antique armour with a lion's mark on his right shoulder, and
7306
a cloak adorned with a Garter Star. The Ashmolcan bust is
7307
an example of the second type of which other examples are
7308
recorded by Webb at Syon House, Wimbornc St Giles, and
7309
the National Portrait Gallery (2005, transferred from the
7310
British Museum in 1923). It seems never to have been
7311
observed in print that this second type is not in fact an
7312
independent invention by the artist but an abbrcviation-hcncc
7313
the unhappy cutting of the Garter Star-of the
7314
sculptor's full-length effigy of the duke made for the tomb
7315
in the chapel at Blenhcim. The angle at which the effigy has,
7316
inevitably, been photographed militates against recognition of
7317
this. Since the Ashmolean's version of the bust was presented
7318
to the Bodleian in 1730 that establishes a date for completion
7319
of Rysbrack's effigy at least as a model. The marble effigy was
7320
presumably among the `figures', `trophies', and `medals'
7321
described by the duchess as `ready to set up' in the chapel in
7322
May 1732 (ibid. 93).
7323
@@PROCESS
155
7325

                
7326
BRITISH SCULPTURES, BY ARTIST'S NAME
7327
Foundry or workshop of L. Gcnneau (probably Paris)
7328
After John Michael RYSBRACK ( 1694-1770)
7329
@@PROCESS
7330
567. Statuette of Sir Peter Paul
7331
Rubens
7332
61,8 cms, (height including integral plinth); 2.9 cms. (height of
7333
plinth); 22.2 cms. (length of plinth); 19.4 cms. (width of plinth);
7334
26.5 cms. (length of plinth)
7335
Bronze with a dark brown patina won to olive green-brown on the
7336
plinth and on the figure's right hand, nose, and forehead. The
7337
brown patina has traces of a ruddy gold when well lit. Hollow, sand-cast,
7338
in several pieces. The base together with the draped pedestal
7339
behind the figure forms one unit and the upper half of the figure is
7340
bolted and soldered to this. The figure's right arm and left hand
7341
are also separately cast. The surface is very meticulously tooled and
7342
all the drapery is finely and freely cross-hatched. `D. pETRvS. PAVLVS.
7343
RVBBENS. EQVES' is chiselled across the back of the plinth of the
7344
pedestal, `Petro Pauol Rubens' in imitation of the artist's own
7345
signature in Italian is chiselled across the back of the plinth below
7346
this, and `Michel Rycbrack [J;c] / 1632' with a line below the date
7347
is chiselled on the side of the plinth of the pedestal. There is an
7348
indecipherable flourish at the end of `Pauol' in the artist's signature.
7349
Bought in 1963. Redstered on 25 October with the name of the
7350
vendor left blank.
7351
Vcrtue informs us that the success of Peter Schecmakers's
7352
monument to Shakespeare in Westminster Abbey led to a
7353
decline in Rysbrack's business as a sculptor. We may speculate
7354
that the success of Roubiliac may also have caused this. In
7355
his new-found leisure, surely recalling a commission, reccivcd
7356
from Lord Burlington in the 1720s, for portraits of Inigo
7357
Jones and Palladio, and perhaps also influenced by the fact
7358
that his rival Scheemakers had made such a hit with a figure
7359
in historical dress, and also newly alert to his alien status (not
7360
a compatriot of Shakespeare ), Rysbrack made `three moddels
7361
in clay, being the representations of 3 most excellent Artists
7362
(about 2 foot hi each figure) Rubens. Vandyke & Fiamingo
7363
Quenoy [i.e. Duquesnoy] all thrcc his Country men'. Vertuc
7364
enormously admired them ( `Notebooks', iri, W¢/fJo/e SocG.rty,
7365
22 ( 19334),116). That was in 1743 and in the following
7366
year, on 4 January in the D¢¢./y Adrcr}¢.fc7r, Joseph Van Aken,
7367
the drapery painter, solicited subscriptions for an edition of
7368
the three figures in plaster of Paris (asking 7± guineas for the
7369
set). The models could be viewed and orders placed in
7370
Rysbrack's studio, so it is reasonable to suppose that the
7371
sculptor retained an interest in the venture. Nine monochrome
7372
off paintings of the three figures by William Grecne the
7373
younger may have served as part of the promotion of this
7374
`publication', as is suggested by Katharine Eustace ( M¢.choc/
7375
Ryr4"¢cfe (City of Bristol Museum and All Gallery, 1982),
7376
13844). She also notes that it seems to have been after Van
7377
Akcn's death in 1749 that John Checre took up the
7378
production of plasters. The origival models of Rubens and
7379
Van Dyck were lots 73 and 74 of the studio sale of `Joseph
7380
Vinhaccken . . . drapery paintcr' at Langford's, Ijondon,11
7381
February 1750/1, together with many plaster casts. Cheere
7382
@@PROCESS
7383
156
7384
was not the only supplier of plaster casts. Some appear for
7385
sale with their brackets in the `stock in trade of Mr Atkinson
7386
of picadilly lately dcceased' auctioned by Burnsall, London,
7387
on 2 April 1767. Some were also sold, at 2 guineas each, by
7388
Charles Harris, sometime before 1795 and there are examples
7389
in press-moulded terracotta, stoneware, and ivory. But there
7390
arc no bronze reproductions which can certainly be dated to
7391
the cightecnth century although Chcere's plasters were given
7392
a bronze colouring. Rysbrack also made marble busts from
7393
the three figures in 1746.
7394
The claim made by Ian Robertson in the A"„"a/ RGPo
7395
for 1963 (p. 53) that this bronze version of Rysbrack's R#Z7e»J
7396
statuette is actually `the work of ' Rysbrack seems highly
7397
optimistic. The chiselled letters of his mme copy laboriously
7398
those incised in clay by the artist. A contemporary craftsman
7399
might have been responsible for this, although chiselled
7400
imitations of cursive script are not usual before the last century.
7401
But if it was done by a contemporary they would surely not
7402
have mistaken the `s' in Rysbrack for a `c'. The best explanation
7403
for this mistake is that the bronze worker had a slightly
7404
defective or blurred cast as his source and had no idea who
7405
Rysbrack was. This would also explain the absence of a proper
7406
hilt or sheath for the sword in the bronze statucttc for these
7407
are likely to have been missing in a poor cast. This theory
7408
also makes sense of the date 1632 below the signature. The
7409
bronze worker who had not heard of Rysbrack may well have
7410
supposed that hc was a contemporary of Rubens and that the
7411
portrait was made from life; he would in that case have hit
7412
on a seventeenth-century date for the work (had he given
7413
much thought to the matter, however, he might have chosen
7414
an earlier one since Rubens was 55 years old in 1632 and
7415
looks younger here). The other inscriptions on the bronze
7416
are imitations of Rubens's own signature as he signed his own
7417
letters and paintings. The idea of recording the handwriting
7418
with the likeness of a sitter seems to have origivatcd in the
7419
early nineteenth century-the medallions of great men by
7420
David D'Angers testify to an enthusiasm for graphology, then
7421
a new and exciting scicncc.
7422
There is, then, reason to suspect that this bronze is a
7423
nineteenth-century cast and this is strongly supported by its
7424
composite, sand-cast, structure typical of Parisian nincteenth-century
7425
foundries. There is another version of the bronze on
7426
deposit with the sculpture department at Sotheby's in Bond
7427
Street which is identical except that it is signed `Miche
7428
Rybsrack [f¢.c] / 1743' and has the latinate and capitalized,
7429
but not the Italianate cursive, version of Rubens's name. A
7430
version is also in the Victoria and Albert Museum, paired with
7431
one after Rysbrack's Van Dyck (A. 24 and A. 23-1955).
7432
Rysbrack's signature in this case is also `Miche' as in the
7433
Sotheby's version but `L. GENNEAU' is chiselled together with
7434
the I.atinate capitalized name behind. A note of 1977 in the
7435
Victoria and Albert Muscum's files records another pair in
7436
the Bcaverbrook Art Gallery, Fredericton, New Brunswick,
7437
Canada, marked `Soci6te des Bronzes'. Genneau is not
7438
otherwise known to us, either as a c¢.Jc/e#7 or a founder, but
7439
BRITISH SCULPTURES, BY ARTIST'S NAME
7440
it is a French or BelSan name and the Soci6t6 dcs Bronzes
7441
was presumably a French or Belgian firm.
7442
It is not hard to understand why Rysbrack's statuettes
7443
should have been reproduced in bronze in France in the
7444
second half (I would suspect in the last quarter) of the last
7445
century. Albert Ernest Carrier-Bellcuse's statuettes of raphael
7446
and Michelangelo were cast by Deniere in 1855 (a dated pair
7447
are in the Ijouvre). He followed these with Leonardo, Cclhi,
7448
Murillo, Velazquez, also standing, and a seated Dtirer-this
7449
last incorporating an imitation of the artist's signature (an
7450
example was lot 81, Sotheby's, London, 4-7 November
7451
1988). Other sculptors and founders saw their opportunity:
7452
Jean Jacques Feuchere's models of I'alissy and Cellini were
7453
cast by E. de I,abrouc; Genneau would seem to have exploited
7454
the models already made in England. There is a possibhity
7455
also that knowledge of Rysbrack's initiative of the mid-eighteenth
7456
century stimulated that of Carrier-Bclleuse a
7457
hundred years later, especiany since in 1855, the date of the
7458
Raphael and Michelangelo, he had just returned to France
7459
having spent five years working as a modeller for Minton's
7460
factory in Stoke-on-Trent.
7461
@@PROCESS
157
7463

                
7464
BRITISH SCULPTURES, BY ARTIST'S NAME
7465
Perhaps John Michael RYSBRACK ( 1694-1770)
7466
@@PROCESS
7467
568. Portrait bust of an unknown
7468
lady
7469
60.6 cms. (height including socle); 14.5 cms. (height of socle)
7470
Lead. Hollow cast with thick walls. The surface has been dented in
7471
several places most conspicuously in the centre of the forehead.
7472
There are also numerous scratches including deep ones on the upper
7473
chest, the proper right cheek, and across the chin. There is a crack
7474
in the cast across the foremost and lowest fold of the drapery. The
7475
lead has clearly been tooled after casting-the sharp lines of the
7476
front curls of the hair and of the eyebrows are particularly indicative
7477
of this (see also below). There are traces of a white deposit in some
7478
of the hollows, perhaps suggesting that the bust was originally
7479
painted. The interior of the bust has been filled with mastic and the
7480
bust has been mounted on a turned and waisted serpentine soclc
7481
(certainly not origival).
7482
Bought in 1933. From the dealer `Marcussen' according to the entry
7483
in the University Gallery Benefactions Book perhaps at the same
7484
time as No. 401.
7485
The bust was described by the Keeper, Kenneth Clark, in the
7486
A""#¢/ Rcpo# ( 1933: 25) as in the `style of Rysbrack' and
7487
this seems just. It is certainly a fine work of this period. An
7488
idiosyncraticfeatureisthescalloped,almostpetal-ukecharacter
7489
of the undergarment and this may be compared with the
7490
treatment of the drapery in Rysbrack's bust of I.ady Margaret
7491
Cavendish-Holles-Harley dated 1723 (at Welbeck Abbey,
7492
Nottinghamshire, reproduced as pl. 35 in M.I. Webb,
7493
A4¢.c¢¢e/ ftysb"¢c4 Sc#/Pfo7 (London, 1954) ). The hair has
7494
been given a granulated texture with a punch after casting
7495
and lines chisellcd on top of this. Exactly the same technique
7496
may be observed in Henry Cheere's superb lead bust of the
7497
duke of Cunberland at Belton House (bought 1747,
7498
Bel/M/44), but it need not have been special to Cheere.
7499
The bust has been very carefully and tactfully restored,
7500
doubtless after acquisition, and it is clear from a letter written
7501
by Clark to H. H. E. Craster, Bodley's Librarian, on 3
7502
February 1933 that credit for this should be given to `Our
7503
restorer, Young . . . generally reckoned one of the best
7504
restorers in the Country and . . . responsible for many of the
7505
masteapicces in the Muscum'-in draft, Clack wrote, `8c no
7506
one knows how much of the masterpieces in the Museum
7507
are his work'. Clark added that he was a `slow worker and
7508
paid a retaining fee by the Department of Andquities and is
7509
therefore bound to give up most of his time to their work. It
7510
is also almost impossible to get an estimate from him; I have
7511
never had an account from him since I have been here.'
7512
@@PROCESS
7513
158
7514
BRITISH SCULPTURES, BY ARTIST'S NAME
7515
Possibly the factory of SHORE of Matlock (flourished mid-ninctccnth
7516
century)
7517
@@PROCESS
7518
569. Crater-shaped vase on a
7519
pedestal
7520
42.2 cms. (height); 17.4 cms. (height of pcdcstal); 20.8 cms.
7521
(diameter of vase at lip); 15.7 cms. (length a.nd width of plinth
7522
ofpcdcstal)
7523
The body of the vase is fashioned from an unusually large block of
7524
Dcrbyshirc fluorspar (blue-john). It is hollow only above the
7525
handles. The foot is fashioned from a separate piece. The pedestal
7526
consists of blocks of white Camra marble forming base and crown
7527
mouldings, and sides of fluorspar veneered over a core. The plinth
7528
of the va.se and pedestal are of black marble (probably Derbyshire
7529
black marble, from the Ash ford quarry). There is a plate of brass
7530
under the pcdestal's plinth. The pair of foliate handles and the thin
7531
bands of ornamental moulding between foot a.nd body, foot and
7532
base of the vase, and at the edge of the base are of lacquered brass.
7533
The components are held together by a long bolt.
7534
Bequeathed by Major Thomas Bouch in 1963. Received by the
7535
museum on 20 November 1963. See also Nos. 451, 452, and 469.
7536
Blue-john had been employed omamentally since the middle
7537
of the eighteenth century, at first by local craftsmen but
7538
during the 1770s by the factory of Matthew Boulton at Soho
7539
(see Nos. 451-2, 608-9). After 1780 the material was
7540
available to craftsmen all over Britain but seems mostly to
7541
have been worked and mounted by firms in Derbyshire. The
7542
urns associated with Boulton are always solid, as was indeed
7543
an advantage for the relatively heavy candle branches often
7544
attached to them. Hollow work began to be made in the
7545
1780s and by 1802 the technique, which involved heating
7546
the stone and appl)ing resin, was very advanced and the
7547
delicacy of the translucent vases turned on water lathes is
7548
speciauy mentioned in John Mawe's A4l¢."c#¢/og}y a/Dc#kyul}G.rc
7549
(Derby, 1802), 75. In 1848 Robert Hcnson, addressing the
7550
Western Literary Institution in Leiccster Square (in a lecture
7551
published in B„¢./der, 6/307 (23 Dec. 1848), 617-18),
7552
marvelled at the blue-john vases which could be illuminated
7553
by a taper. Hc noted in particular the products of Thomas
7554
I.ambc's silk mill in Derby which had long since convcrtcd to
7555
working blue-john-this was the factory of either Shore,
7556
Evens, or Brown who were the chief rivals in the business. `A
7557
prodigal waste of this stone was once carried on when
7558
abundance could be obtained from the mine, but now it is
7559
extremely scarce and expensive, the price has risen from fl4
7560
to fro per ton, and even larger sums have been given for very
7561
fine specimens.' The waste thrown out in the eightccnth
7562
century was by then being collected from the River Derwent
7563
for rcworking.
7564
The firm which was especially noted for large, hollow,
7565
turned vessels was that of Shore-some of these were as high
7566
as 2 feet (A. E. 0llercnshaw and R J. and D. Harrison, A
7567
H¢.#ory a/B/#c/o4„ Sfo„c (Brighouse, n.d. [c.1960]),18-
7568
19). This remarkable exanplc may bc tentatively attributed to
7569
that factory. The character of the fohatc handles and the
7570
curvature of the lip of the crater are alike characteristic of the
7571
revival of the rococo in the decorative arts at the time of the
7572
Great Exhibition. The unhappy conjunction of the handles
7573
with the gadrooning is a typical consequcncc of provincial
7574
manufacture-there was technical skill in working the stone
7575
but not much taste in the design of the final product and the
7576
stone workers were separate from the suppliers of the mounts
7577
(which were probably purchased `ready-made') so that the
7578
vases were not conceived of as a whole. In the better
7579
eighteenth-century work in this material the amber-coloured
7580
stone (as in the body of the vase here) was not contrasted
7581
with the amethyst (as in the pedestal here) but stone of a
7582
similar colour was used throughout.
7583
lFT.I,1,,.,,,,,,,,I:1,,,
7584
@@PROCESS
159
7586

                
7587
BRITISH SCULPTURES, BY ARTIST'S NAME
7588
BRITISH SCULPTURES, BY ARTIST'S NAME
7589
Unknoun foundry
7590
After Phoebe STABLER (d.1955)
7591
@@PROCESS
7592
570. Faggot gatherer
7593
22.5 cms. (height including integral base)
7594
Bronze with a very dark brown patina. Hollow, lost-wax, cast.
7595
Incised in the model in the integral, naturalistic, base to proper left
7596
`P.G. STABLER 1910'.
7597
Given in 1956 by Cyril da Costa Andrade of Morocco House,
7598
Bayard's Cove, near Dartmouth, Devon, together with No. 487.
7599
Redstcred on 3 October.
7600
Andrade was a considerable benefactor to the Department
7601
but his interest was chiefly in the field of ceramics rather than
7602
sculpture. Phocbe Stabler, however, had made her reputation
7603
as a modeller for ceramics not long after this model was
7604
signed, when the rights on her `Picardy Peasants' were
7605
purchased for reproduction in earthenware and bone china
7606
by the Doulton Burslem factory at the instigation of its art
7607
director Charles J. Nokes. The rights were purchased in 1911
7608
and her figurines launched in the `HN' Range in 1913. She
7609
exhibited bronze statuettes at the Royal Academy during the
7610
same period (the earliest being Gr¢7¢ny in 1911, no.1814,
7611
which might bc identical with the work catalogued here).
7612
Mrs Stabler seems never to have given her date of birth to a
7613
work of reference. In 1906 she married Harold Stabler, who
7614
was born in 1872. He worked as a sculptor, potter, and
7615
jeweller.
7616
@@PROCESS
7617
160
7618
Probably the foundry of J. W. Singer, Frome, Somerset
7619
After Alfred STEVENS ( 1817-75 )
7620
@@PROCESS
7621
571 and 572. Pair of allegorical
7622
groups from the monument to the
7623
duke of wellington: Valour with
7624
Cowardice (571); Truth with
7625
Falsehood ( 572)
7626
64.5 cms. (height of No. 571); 37 cms. (length of No. 571);
7627
30.5 cms. (length of No. 571 at base); 26.2 cms. (width of
7628
No. 571 ); 60 cms. (height of No. 572); 41 cms. (length of
7629
No. 572); 25.5 cms. (width of No. 572)
7630
Bronze with a black to chestnut patina. Hollow, sand-cast. Each
7631
group is cast in one piece. No. 571 is hollow behind. Core remains
7632
in the right leg of valour and the right arm of Truth and both arms
7633
of Falsehood. A wire armature also remains in the arms of Falsehood.
7634
There are numerous vestigial seams from the piece-moulded plaster
7635
casts (from which the casting models were taken).
7636
Bought at Sotheby's, I.ondon, 31 October 1962, lot I from the
7637
collection of Frank RInder by Colnaghi acting at short notice for
7638
Gerald Taylor who had admired them a short while before the
7639
auction commenced. Bought from Mr Taylor and registered early
7640
August 1963. Placed on brackets in the Print Room, above the
7641
solander cabinets on the north wall, where they have remained.
7642
The history of Alfred Stevens's monument to the duke of
7643
Wellington in St Paul's Cathedral has been traced in great
7644
detail by John Physick in 7%G We%79gfo7¢ 44o"#7"G"f (HMSO,
7645
1970). The first proposal for the monument was made not
7646
long after the duke was buried in St Paul's in 1852 when Sir
7647
William Molesworth, First Commissioner of works, found
7648
himself with ca3,000 left out of the floo,000 voted by
7649
Parliament for the funeral expenses. Molesworth's planned
7650
limited competition was abandoned in 1855 and an open
7651
competition was announced by his successor, Sir Benjamin
7652
Hall, in September of the following year. On 7 August 1857
7653
Stevens's design was one of six placed equal fourth in the
7654
competition-the value of the competition was, however,
7655
much diminished by the fact that the only judge profcssionany
7656
connected with the arts, C. R. Cockerell, declined to
7657
participate in the final decision.
7658
Stevens's model in plaster and wax, 9 fcct 9 inches high,
7659
now in the Victoria and Albert Museum (44-1878), was
7660
published in the I//#ffr¢£Gd lo„do„ Niow7J on 12 September
7661
1857, whose critic admired the way that the `vanquished
7662
figures were flung out from the pile with a boldness and
7663
terrific spirit'. They were not, however, universany approved
7664
and the Ecc/cfG.a/ogrS.ff, champion of the Gothic Revival, found
7665
the `demonology' both `intrusive and unintchictble'. The
7666
announcement that Stevens's design had been selected was
7667
made in June 1858 and he was offered the commission
7668
provided he made a full-sized model. He agreed to this
7669
Condition on 9 September 1858. The model for the group
7670
of Truth was `almost two thirds complcte' by 27 November
7671
1860, but work on the model as a whole proceeded slowly
7672
and it was not until January 1867 that it was sufficiently
7673
advanced for Stevens to be given permission to proceed with
7674
the sculpture.
7675
The plaster casts of the full-sized models for the groups in
7676
the Victoria and Albert Museum (32la and 32lb-1878) show
7677
many minor deviations from the origivial models (which are
7678
reflected in the Ashmolean's bronzes)-for instance, the club
7679
of Hercules is held by Valour at a different angle, the right
7680
leg of Truth is draped, and Falsehood's left hand clutches a
7681
ball. These casts probably date from 1866. The models wcrc
7682
being prepared for casting in the summer of 1870, but the
7683
groups had not been cast when Stevens died on I May 1875.
7684
The bronzes were, however, ready by the summer of 1876
7685
when, together with the effigy of the duke, they were exhibited
7686
at the Royal Academy (as nos.1427 and 1522). The
7687
monument was unvcfled in 1878. In 1894 it was moved to
7688
the location in St Paul's which had origivally been proposed
7689
for it. The crowning equestrian statue, however, which had
7690
origivally been planned but which was then objected to by
7691
the Dean of st Paul's, was not placed in position until 1903
7692
and the monument was not finally unveiled until 1912.
7693
As Ian Robertson observed in the A#"#¢/ RGPo77 ( 1963:
7694
53) a study for the figure of valour was among the group of
7695
drawings by Stcvens in the Department's collection. It had
7696
been part of the Madan Bequest in 1962 and so was very
7697
much in the minds of the curatorial staff. He suggested that
7698
the Ashmolean's bronzes were `likely to have been one of the
7699
four pairs included in the first day of Stevcns's studio sale 19
7700
July 1877 lots 4649', but there is no cvidcncc for this and
7701
the casts mentioned in these lots must have been of plaster
7702
(they sold for cvcry little). Robcrtson recorded three other
7703
pairs: those in the Victoria and Albert Museum, the City
7704
Museum and Art Gallery, Leiccster, and in the collection of
7705
Mr and Mrs Charles Handley-Read, with the inphcation that
7706
these were the other three pairs in the sale. Thcrc are in fact
7707
numerous other bronze casts of this type (for instance, in the
7708
National Gallery of Scotland, 2057, the National Ganery of
7709
Ireland, 65-8075 and 59-8076, Fitzwilliani Museum,
7710
Cambridge) and it is known that the pair in the Victoria and
7711
Albert Museum (on loan to the Mappin Art Gallery, Sheffield
7712
(264 and 265-1896) were bought for £25 each in 1896 from
7713
the Singer foundry and were cast from plasters in the
7714
possession of John R Clayton (see S. Jcrvis (ed.), V¢.cfo".¢„
¢»d Ed7p¢kd¢.fl» DGcor¢£¢.pc A# (catalogue of the Handley-
7716
Read Collection, Royal Academy, I.ondon, 1972), 58-9, cat.
7717
mos. C84-5 by Iidvinia Handley-Read). It is likely that the
7718
Ashmolean pair belong to the sanie large commercial
7719
posthumous edition. The plaster casts in Clayton's possession
7720
were evidently made in a piece-mould from an origival sketchy
7721
clay model (or, more probably, from a plaster made in a waste
7722
mould from such a clay model) made by Stevcns in connection
7723
with his origival competition model exhibited in 1857. It is
7724
most unlikely that Stevcns would have wanted a work of this
7725
character to be converted into bronze. By 1896 of course
7726
@@PROCESS
161
7728

                
7729
BRITISH SCULPTURES, BY ARTIST'S NAME
7730
Stevcns was acknowledged as a genius and moreover as the
7731
spiritual parent of the `New Sculpture'. His sketches were
7732
valued. The monument to Wellington was by then being
7733
treated as a monument to Stevcns as well as to Wellington.
7734
@@PROCESS
7735
162
7736
BRITISH SCULPTURES, BY ARTIST'S NAME
7737
)ohm Macallan SWAN RA ( 1847-1910)
7738
@@PROCESS
7739
573. Head of a puma
7740
7.8 cms, (length)
7741
Red wax. There is a small chip missing from the animal's right car.
7742
`Macallam Swan' is incised in the wax in a bold cursive hand with
7743
a sharp modelling tool below the animal's right ear. On the opposite
7744
side of the head a word, possibly `puma', is incised in a similar style.
7745
Mounted by means of an oriSnal copper prong on a velvet covered
7746
pedestal.
7747
Purchased 1966 from Alfred Spero of 4 Park Mansions Arcade,
7748
Knightsbridge. Registered on or soon after 19 April (the entry is
7749
undated but the previous entry carries this date).
7750
The wax model is hard to date. Swan's ro#„g givr was
7751
exhibited at the Royal Academy in 1889 and thereafter he
7752
enjoyed a reputation for his vivid sketches of wild animals,
7753
indebted to the traditions of French ¢"¢.ow¢/G.G7r bronzes, such
7754
as those of Fr6mict under whom Swan had studied in the
7755
1870s.
7756
Charles SYKES ( 1875-1950)
7757
@@PROCESS
7758
574. Eve, a Waning to Woman
7759
11.3 cms. (height including integral base); 3.55 cms. (height of
7760
base); 3.4 cms. (length of base); 3 cms. (width of base)
7761
Bronze with a dark green and brown patina worn to golden brown
7762
on hair and apple. Hollow cast. Faintly signed in the model on the
7763
sides of the block at the back below the figurc's left buttock `C. S.
7764
Sykcs'.
7765
Given by Mrs Jessica Sykes, of Gothic House, Drayton by Abingdon,
7766
Bcrkshire, in memory of her husband the sculptor,1953. Rcctstercd
7767
on 28 May. See also No. 575.
7768
The date of this curious and grotesque work is not recorded,
7769
but it may be a miniature, private, and half-satirical rcsponsc
7770
to controversial heroic sculpture by Jacob Epstein such as his
7771
Gc„efG.f of 1931 (Seravczza marble, Granada Television
7772
Collection on loan to the Whitworth Art Gallery, University
7773
of Manchester). Nothing could be less like Sykcs's bcst-known
7774
sculpture, the SpG.r¢.f a/Gcj£#ty, which, in various sizes
7775
and finishes and with minor variations, has served as a mascot
7776
for Rolls-Royce since early in 1911.
7777
@@PROCESS
163
7779

                
7780
BRITISH SCULPTURES, BY ARTIST'S NAME
7781
Charles SYKES ( 1875-1950)
7782
@@PROCESS
7783
575. Europa
7784
20.8 cms. (height of bronze); 27.5 cms. (length of bronze);
7785
2.8 cms. (height of plinth); 27 cms. (length of plinth); 9.2 cms.
7786
(width of plinth)
7787
Bronze with a golden brown patina. Hollow cast. Mounted on a
7788
plinth of pale walnut. One label on the underside of the plinth
7789
reveals that the bronze was exhibited between 1943 and 1944 at the
7790
Russell Cotes Art Gallery, Boumcmouth; another that it was
7791
included in a memorial exhibition at Walker's Galleries, 118 Bond
7792
St, I,ondon. Thcrc is also a label marked with the price £38.
7793
Given by Mrs Jessica Sykcs, of Gothic House, Drayton by Abingdon,
7794
Bcrkshire, in memory of her husband the sculptor,1953. Rctlstcred
7795
on 28 May. See also No. 574.
7796
@@PROCESS
7797
164
7798
The labels on the reverse of the phnth suggest this sculpture
7799
must date from before 1943 and it would seem likely to
7800
belong to the 1930s. The subject of Europa and the Bull was
7801
made enormously popular in European sculpture by the
7802
famous bronze by the Swedish sculptor Carl Mines of 1923-
7803
4 (one cast of which is in the Tate Gallery, I.ondon). Other
7804
British sculptors to have attcmptcd it during the 1930s were
7805
Joseph Else and S. Nicholson Babb (see ModGow Sc#/P£#"G,
7806
the photographic anthology published by the Royal Society
7807
of British Sculptors, I.ondon, no date, but 193940, pp. 8
7808
and 30). For the popularity of this subject generally in Europe
7809
see U. Berger, `Europa in neuer Gestalt', in D¢.c VGrf#47`¢¢"g
7810
de7 E#7iop¢ ( Kunstgewerbcmuscum, West Berlin, 1988 ).
7811
What appear to be preliminary pencil drawings for Sykes's
7812
E#rop¢ were, in April 1978, in a private collection in Ascot,
7813
Berkshirc.
7814
BRITISH SCULPTURES, BY ARTIST'S NAME
7815
@@PROCESS
165
7817

                
7818
BRITISH SCULPTURES, BY ARTIST'S NAME
7819
Frederick TATIIAM ( 1805-78 )
7820
@@PROCESS
7821
576. Hcad of an antique warrior
7822
62.3 cms. (height)
7823
Carrara marble. Drilling is evident in several areas, under the peak
7824
of the helmet, beside the curls of hair, and under the moustache.
7825
There are rough chisel marks apparent on the brow.
7826
`FRED? / TATHAM / 1830.' is chiscllcd on the face of the integral
7827
soclc below the back of the neck.
7828
Bought for £3,200 on 7 July 1988 from Jonathan Clark Ltd, 18
7829
Park Walk, h)ndon Swlo. The sculpture was drawn to the Kecper's
7830
attention by Mr and Mrs John Gerc.
7831
Frederick Tatham was the eldest son of the architect Charles
7832
Heathcotc Tatham ( 1772-1842). He was awarded the Silver
7833
Palette from the Society of Arts in 1824 and chiefly exhibited
7834
portrait miniatures at the Royal Academy, but between 1825
7835
and 1832 he was active as a sculptor showing work at both
7836
the British Institution, including, in 1829, 777c E"j/¢pcd
7837
Tvy#"f (no. 535) and 77lc DyG.»g W¢rr¢.o7 (no. 541), and the
7838
Royal Academy. The curious socle of two superimposed
7839
blocks with chamfcred corners, by which the head, cut off
7840
obliquely below the bare neck, appears to have been impaled
7841
at random, is paralleled in some other British sculpture of this
7842
period, for instance Samuel Joseph's beautiful bust of an
7843
unknown woman of 1825 at Temple Newsan House, Leeds.
7844
•i-,,,,i,,,:,h'ri-,:,''::'',,,,.,,,,giv
7845
BRITISH SCULPTURES, BY ARTIST'S NAME
7846
Foundry of A. 8. Burton, Thames Ditton, Surrey
7847
Cccil THOMAS OBE, FRBs ( 1885-1976)
7848
@@PROCESS
7849
577. Portrait head of Archibald
7850
G. 8. Russell
7851
58.2 cms. (height including pedestal); 17.5 cms. (height of
7852
pedestal); 17.6 cms. (length of pedestal); 17.7 cms. (width of
7853
pedestal)
7854
Bronze with a dull dark grey to green patina. Hollow, sand-cast, in
7855
one piece. `CECIL THOMAS / 1926' is incised funtly in the model
7856
on the side of the naITow uppermost step of the tapering pedestal,
7857
at the rear. `A. G. 8. Russell Bequest 1958' is written on a paper
7858
label in the interior of the pedestal.
7859
Bequeathed by Archibald Gcorgc Blomeficld Russell CVO, JP,
7860
Clarenceux FGng-of-Arms, who died March 1956. Received on 8
7861
October 1958 from Mr Russell's unofficially adopted daughter Mrs
7862
Stedall-item no. 9 in the receipt made on that occasion. It would
7863
seem that the Keeper, K. T. Parker, was not delighted at the prospect
7864
of receiving the bust, for in a xerox of the codicil added by Russell
7865
to his will in 1955 he wrote `No!' opposite this item.
7866
Cecil Thomas was apprcnticed to his father, a gem engraver,
7867
and the first of his exhibits at the Royal Academy was a case
7868
of four gems in 1909. While still working in the finjly
7869
workshop he studied sculpture at the Central School, at
7870
Hcatherly's, and at the Slade School and from the cutting of
7871
cameo profiles he graduated to larger portrait medallions.
7872
After service in the First World War as an intelligence officer
7873
he received a commission to commemorate the sons of I.ord
7874
and Lady Forster of Lepc. The recumbent cffigics (the first
7875
of many by him) attracted the notice of Archibald Russell,
7876
then Lancaster Herald, as did some of his portrait busts, four
7877
of which he published in `Thc Sculpture of Cccil Thomas' in
7878
A77 Worfe,I/4 (May-Aug. 1925). In the following year, it
7879
seems, Russell sat for Thomas and on a note dated 9
7880
December 1926 (in the card index he made of works of all
7881
in his collection) Russell recorded that the portrait head had
7882
been prcscnted to him by the sculptor but that he had paid
7883
fl710s. to A. 8. Burton of Thames Ditton, Surrey, for the
7884
casting. The portrait head was exhibited at the Royal Academy
7885
in 1929 (no.1560 `Archibald G. 8. Russell Esq., I.ancaster
7886
Herald-head, bronzc' ).
7887
In his article on Thomas's sculpture Russell had vcnturcd
7888
one criticism of the portraits:
7889
It may perhaps be questioned whether the problem of adjusting his
7890
portraiture to the conventional requirements of the base upon which
7891
it stands, has as yet been solved by Mr Thomas in a wholly satisfactory
7892
manner. In common with many other sculptors of our time, he
7893
suffers from the unfortunate legacy from as great a master as Rodin,
7894
whose too frequent practice it was to evade the undoubted
7895
difficulties presented by the transition bctwcen convention and
7896
realism, by leaving his work unfinished. It would appear moreover
7897
to be Mr Thomas's plan to carry the lines of the sculpture down to
7898
the base, whereas a more satisfying harmony would probably be
7899
obtained between the two by inverting the process and givng the
7900
head an upward spring from the base, and by assigning to the latter
7901
a somewhat more definite character, however formal, of its own.
7902
The stepped tapering pedestal and the somewhat heraldic
7903
treatment of the upper chest in this portrait must be a
7904
response to this criticism. The rose and crown on the pedestal
7905
identify Russell as I.ancastcr Herald.
7906
Thomas enjoyed considerable success as a sculptor chiefly
7907
of portraits but also of ideal or decorative figures for
7908
gardens---for instance, his Le¢P¢."g/£¢ reproduced in the
7909
Royal Society of British Sculpture's Mode" Sc#/p£„rc ( n.d.
7910
but 193940, p. 90)-and for architecture-for instance the
7911
heraldic decorations of the British Pavilion at the New York
7912
World's Fair in 1939, and the sculpture on the rebuilt Church
7913
of All Hallows by the Tower and St John of Jerusalem,
7914
Clerkenwell (both in Iondon). His best-known work,
7915
however, was for the Mint-among it, the rclicf portraits of
7916
Queen Elizabeth 11 for overseas coimge and the coronation
7917
medal and four of the reverses of the new UK coinage issued
7918
for the new reign. (See Who W¢f Who 1971-80 and the
7919
obituary in 7Z7G T¢.owcf, 20 September 1976. )
7920
Archibald Russell becanc a major benefactor of the
7921
Ashmolean Museum, principally by Sfts to the Print Room,
7922
commencing in 1944 with fourteen of his finest drawings
7923
presented through the National Art-Collections Fund in
7924
memory of his son Lieutenant John Anthony Peregrine Russell
7925
who was killed in action in January 1941.
7926
@@PROCESS
167
7928

                
7929
BRITISH SCULPTURES, BY ARTIST'S NAME
7930
Probably the foundry of J. W. Singer, Frome, Somerset
7931
After [William] Hamo THORNYCROFT RA ( 1850-1925)
7932
@@PROCESS
7933
578. The Mower
7934
58.7 cms. (height including plinth); 2.9 cms. (height of plinth);
7935
22.5 cms. (length of plinth); 16.7 cms. (width of plinth)
7936
Bronze with a rich chestnut patina. Hollow, lost-wax, cast. An iron
7937
armature is evident in the underside of the plinth, as is some core.
7938
The plinth may have been separately cast. `Hamo Thomycroft Sc.
7939
1920' is incised in the model on the proper right face of the plinth.
7940
`Hamo Thomycroft RA.' is incised in the model on the upper
7941
surface of the naturalistic plinth beside the figure's proper left foot.
7942
`As the tiny swell of our boat moved the river grass / Stood with
7943
suspended scythe to see us pass / -Matt. Arnold-' is incised in
7944
the model on rcaf face of the plinth, the letters not all distinctly
7945
legible owing to the burr. There is a small mark in front of the
7946
letters on the second line which could be an ampersand.
7947
Given by Agatha Thomycroft, the sculptor's widow ( 1864-1958 ),
7948
in 1940. A letter by her to the Keeper, Ion Robertson, of 24 April
7949
asks whether the Museum would `like to have this statuettcL-possibly
7950
on loan', adding that her late husband would have liked it
7951
to go there.
7952
Thornycroft signed a small wax model of a ih4lo7pGr "etf?.„g in
7953
1882 (Tate Gallery) and was planning a statue early in 1883
7954
when hc fell in love with the l8-year-old Agatha Cox. In
7955
Scptcmber of that year he expressed himself eager to start
7956
work on the clay model. In October he wrote to Agatha, by
7957
now his fiancee, sending her (together with a cookery book)
7958
selections from the poetry of Matthew Arnold in which he
7959
had marked some hnes from `Thyrsis', Arnold's monody
7960
commemorating Arthur Hugh Clough which was first
7961
published in 1866. The poet ponders on the girl who used
7962
to unmoor the skiff in which he and his Oxford friend `track'd
7963
the sly Thames shorc'-
7964
Where are the Mowers, who, as the tiny swell
7965
Of our boat passing heav'd the river-grass,
7966
Stood with suspended scythe to see us pass.>-
7967
They are all gone, and thou art gone as well.
7968
Most of these lines were to be printed in the Royal Academy
7969
catalogue and two of them were to be incised on the sculpture
7970
itself (inaccurately, perhaps from the sculptor's memory).
7971
Despite this association with a nostalSc pastoral the choice
7972
of subject matter may also reflect the political ideas of the
7973
sculptor's fiancee and her `sympathy with the hard-handed
7974
toilers' which he noted in his diary. He later claimed that he
7975
had anticipated both Meunier and Dalou in this heroic
7976
representation of a labourer. But the sculpture seems rather
7977
to blend ancient and modern as Arnold mingles Victorian
7978
Oxford with classical Sicily in his poem. The boots and
7979
leggivgs do make it a modern figure but the occupation is
7980
an ancient one and moreover one with strong symbolic
7981
connotations which are underlined by John Addington
7982
Symond's sonnet of 1884:
7983
Wc bless thee for thy labourer, earthbom, great,
7984
The dumb, sublime, strong scytheman on fate's shore.
7985
@@PROCESS
7986
168
7987
Thornycroft's model during the last three months of 1883
7988
was Orazio Cervi. An early plan seems to have been for him
7989
to wear a shirt and to support the scythe over his shoulder.
7990
The full-sized clay model was completed on 6 April 1884 and
7991
so the figure could be included, as a plaster cast, in the
7992
Academy exhibition of th^at year where Gilbert's Jc¢7'.¢¢J
7993
(No. 500) and Rodin's 4gr ¢'¢¢.„¢¢." (No. 304) were also
7994
shown. It was much praised. The exhibited plaster was cast
7995
in bronze in 1894 and is in the Walker Art Gallery, Liverpool.
7996
A sketch model, 8 inches high, dated 1884, was cast in bronze
7997
(but perhaps at a later date)-there is a version in the Walker
7998
Art Gallery, Liverpool. But the figure is most familiar as a
7999
bronze reduction such as the example catalogued here. One
8000
such was shown at the Royal Academy in 1889. There are
8001
examples in the Tate Gallery (TO 3963), the Harris Art
8002
Gallery, Prcston, and the National Museum of wales, Cardiff,
8003
as well as the Ashmolean Museum. (See E. Manning, A4l¢7ib/c
8004
and Bronze.. The Art and Life Of Huno Thormycroft (London
8005
and Westfield,1982), 88, 91-2, 207.)
8006
In May of 1890 the S¢£"7:dry Rov¢.eta? recorded that
8007
Thornycroft had issued a circular announcing a limited edition
8008
of bronze reproductions of `two of his best known statues'
8009
of which specimens with a variety of patinas could be viewed
8010
at his studio in Kensington. The two statues are likely to have
8011
bccn the GG7¢c7i¢/ Go7¢o" (see No. 579) and 177c A4lo7pe7. The
8012
Tate Gallery cast is incised in the model with 1888 and 1890
8013
and so may well be one of the statuettes made at this time.
8014
It is also numbered 15 (on the upper face of the p.linth behind
8015
the figure). This must have been an attempt to bypass the
8016
West End dealers, and above all Arthur Leslic Collie, who in
8017
the previous year had `published', with great success, the 7
8018
small bronze Go%¢o», cast by I. W. Singer and Son (who had
8019
mastered lost-wax casting at their foundry by 1888). Edmund
8020
Gosse in his article `Sculpture in the House', published in the
8021
A4l¢g#z¢.#G a/A# in 1895, included a photograph of 777G
8022
44lo7per on a marble chimney-piece surrounded by a typical
8023
elaborate overmantel of the period adorned with plates and
8024
vases by Arts and Crafts potters. (S. Beattie, 777c Nim7 Sc#/Pf#7G
8025
(New Haven, Conn., and I.ondon,1983),188-9.) Statuettes
8026
of 777c A4lowG7 continued to be in demand; the date of 1920
8027
on the Ashmolean's bronze may indicate when the sculptor
8028
decided to authorize a new edition-in this connection it is
8029
interesting that Mr Duncan James writing to Gerald Taylor
8030
on 10 July 1972 concerning bronzes in the Museum possibly
8031
cast by the Singer foundry (by then the Morris Singer
8032
Company of Basingstoke), of which he was writing an official
8033
history, mentioned that he had evidence of two casts of I77c
8034
A4:owey being cast by the firm in about 1924. Given that the
8035
Ashmolean's bronze belonged to the sculptor himself it also
8036
provides good evidence of the patina which hc preferred.
8037
BRITISH SCULPTURES, BY ARTIST'S NAME
8038
BRITISH SCULPTURES, BY ARTIST'S NAME
8039
Probably the foundry of J. W. Singer and Son, Frome,
8040
Somersct
8041
After [WJliam] Hamo THORNYCROFT RA ( 1850-1925)
8042
@@PROCESS
8043
579. Major-General Charles
8044
George Gordon
8045
36.8 cms. (height including integral plinth); 2.2 cms. (height of
8046
integral plinth); 12 cms. (length of plinth); 9.3 cms. (width of
8047
plinth); 12.6 cms. (height of marble pedestal); 14.8 cms. (length
8048
of marble pedestal); 12.8 cms. (width of marble pedestal)
8049
Bronze with a very dark brown patina won to a paler brown in a
8050
few salient areas. Hollow, sand-cast, in pieces. The divisions are not
8051
visible but the interior of the plinth reveals that it was cast together
8052
with the cannon but separately from the figure. `CHARLES GEORGE
8053
GORDON' is chiselled on the front face of the plinth. `puBLlsHED By
8054
ARTHUR LESLIE COLLIE / 398 OLD BOND S'' LONDON MAT 6TH 1889'
8055
is chiselled on the back face of the plinth. `HAMo THORNycROFT
8056
RA. /Sc.1888.' is chisclled on the upper naturalistic surface of the
8057
plinth across the front proper right comer. The baton under the
8058
figure's left elbow is broken off short. The statue came with, but is
8059
not at present displayed upon, a livery russet-coloured marble
8060
pedestal.
8061
Given by Mr D. F. W. Baden-Powell of Stone End, Hinksey,
8062
Oxfordshire, 1968. Registered 10 December.
8063
Cordon is depicted in thought, a cannon ball behind him, his
8064
foot upon a shattered mortar, his hand on a prayer-book, a
8065
baton under his arm, binoculars on his back: a man of vision
8066
and high principle, `rcsolute, solitary, but not sad', on the
8067
field of battle. The statuette differs only in very small detals
8068
from the large bronze statue which was unveiled in Trafalgar
8069
Square on 16 October 1888 and was removed to the garden
8070
of the Thames Embankment after World War 11. Plans for
8071
this statue commenced soon after Gordon's death in January
8072
1885; the commission was given to Thornycroft in August,
8073
hc had made a wax sketch model by January 1886, had
8074
completed a quarter-sized clay model at the end of september
8075
1886, and was working on the full-sized model throughout
8076
the first half of 1887. The bronze casting took place in
8077
October (E. Maming, Marble and Bronz,e: The Art and Life
8078
a/Hfli7ceo T77o7'7eycro/i ( I,ondon and Wcstfield, 1982 ), 1034,
8079
@@PROCESS
8080
107-9, 202-3; S. Beattie, 7%c Nei?7 Sc#/P£"„c (New Haven,
8081
Conn., and I.ondon,1983), 203-5).
8082
Statuettes like the one in the Ashmolcan are not
8083
uncommon. See for example lot 99 at Christie's, London,
8084
24 September 1987; lot 127 at Phillips, I.ondon, I March
8085
1988; and lot 84 at Sothcby's, I.ondon, 28 April 1989.
8086
According to Manning (op. cit.), Thornycroft sold the
8087
copyright to Arthur Conic in January of 1889 for £50 and
8088
one-fifth of the net profits, but there was a separate edition
8089
of half a dozen sold by John Smith. This latter arrangement
8090
probably explains the unmarked versions of the statucttc such
8091
as that exhibited at the Br¢.£?.j4 Sc#/Pf#7c exhibition of the
8092
Fine Art Society in 1968 (as no.167). Susan Bcattie (op. cit.)
8093
points out that Collie exhibited three of the statuettes at the
8094
Arts and Crafts Society exhibition in 1891 with a statuette of
8095
John Bright as a companion piece, and also points out that
8096
@@PROCESS
8097
170
8098
an article of 1892 in the Po7tyro/G.a claims that the casting was
8099
by the firm of singer and Son of Frome. Statuettes of Bright
8100
and Gordon are shown together on bookshelves with
8101
mezzotints after Joshua Reynolds ( such prints wcrc newly
8102
returned to fashion) in an article on small domestic bronzes
8103
by Edmund Gosse in A4l¢g¢2;¢."c a/A7¢ ( 1895), 368
8104
(reproduced by Beattic, op. cit. 191).
8105
Although Thornycroft became interested in lost-wax
8106
casting at the period in which he made this statuette, and
8107
although Singer and Son had new fachities for this process,
8108
the Go7ide# statuettes were sand-cast. It was not the first
8109
work by Thornycroft to be produced in a large edition on a
8110
small scale by this means. His W¢7'7i¢.o7 ¢#¢ ¢ Wo#"¢Gd rofo,
8111
which won a gold medal at the Royal Academy in 1875, was
8112
cast later in an edition by J. A. Hatfield for the Art Union of
8113
I.ondon (rights wcrc obtained in 1876 but the example which
8114
was lot 37 at Sotheby's, Ijondon, 26 November 1986, was
8115
dated 1879) and `Drew and Co.' also signed some small
8116
bronzes of this group (for instance lot 82 at Sotheby's,
8117
Ijondon, 4 November l988)-Drew and Co having taken
8118
over the management of Cox and Sons' foundry at Thames
8119
Ditton (established 1874) shortly before it was taken over by
8120
James Moore.
8121
BRITISH SCULPTURES, BY ARTIST'S NAME
8122
@@PROCESS
171
8124

                
8125
BRITISH SCULPTURES, BY ARTIST'S NAME
8126
Perhaps the firm of Domenico Brucciani and Sons
8127
After Pictro TORRIGIANO ( 1472-1528)
8128
@@PROCESS
8129
580 and 581. Pair of ornamental
8130
pilasters
8131
80.4 cms. (height of both pilasters); 21 cms. (length and width
8132
of both pilasters)
8133
Plaster of Paris, with considerable ingrained dirt. Hollow cast with
8134
no visible seams. There are many chips missing at the edges but
8135
only a few to the ornamental relief. Some cement adheres to the
8136
base of both pilasters.
8137
Provenance uncertain but there may bc a connection with the `two
8138
square columns of white marble finely sculptured, temp. Hen. VIII'
8139
which were no. 485 on p. 146 of the C¢£#/og#e a/£4e 4r47eeo/G¢„
8140
il4l#fc#ow of 1836 but were sent back to I.ondon to restore Henry
8141
VII's altar in Westminster Abbey by order of the Vice-Chancellor
8142
on 20 March 1880.
8143
The pilasters are cast from two marble oncs closely copied
8144
from two of the four bronze ones at the corners of the
8145
sarcophagus upon which repose the bronze cffiSes of King
8146
Henry VII and his queen executed between 1512 and 1518
8147
by Pietro Torridano for Henry VII's chapel in Westminster
8148
Abbey. Casts of these pilasters are found in Brucciani's
8149
Catalogtte Of Casts fior Schools which the Board of Edttcation
8150
Considers Sttitable for Schools and Classes Receiving Grants
8151
jio7» ¢.i (I.ondon, undated but before 1906 and probably
8152
about 1903), mos. 2306-7.
8153
@@PROCESS
8154
172
8155
BRITISH SCULPTURES, BY ARTIST'S NAME
8156
Foundry of Alessandro Parlanti, Parson's Green, Fulham
8157
After Alfred TURNER ( 1874-1940)
8158
@@PROCESS
8159
582. Peace
8160
30.5 cms. (height including integral plinth); 17 cms. (length of
8161
integral plinth); 12.2 cms. (width of integral plinth)
8162
Bronze with a dark brown patina, golden brown in the more salient
8163
parts. Hollow, lost-wax, cast.
8164
Given by the sculptor's daughter, Jessica Tuner of 44 Munster
8165
Road, Fulham, after the exhibition of the work ofAlfred and
Winifred Turner held at the Ashmolean Museum, Oxford, 21 June-
8167
20 October 1988, through the National Art-Collections Fund.
8168
The bronze was exhibited at the Royal Academy in 1914
8169
(no. 2131, `Peace---Statuette'). The sculptor's daughter, the
8170
donor, informs me that the statuette was connected with a
8171
commission for a public statue and it features in an old
8172
photograph placed by her in the Tate Gallery archive as part
8173
ofamaquctteforaprojectedmonuinenttoKingEdwardVII.
8174
The monarch was represented standing in front of the plinth
8175
with this figure seated against one side of it (to his left) and
8176
another female personification, probably Justice (she holds a
8177
balance and sword), seated against the other, with a lively
8178
St George on top of a globe crowning the top. If this
8179
monument was actually erected it is curious that there is no
8180
mention of it in the newspaper profiles of Tuner. Tuner was
8181
in1914atthehcightofhispowerandreputation.Thestatuette
8182
isinverymuchthesamestyleashisbronzegroupofMatcrnity
8183
of the Queen Victoria Memorial in Sheffield, completed ten
8184
years before. There is an account of his life and work in the
8185
catalogue of the exhibition at the Ashmolean Museuni
mentioned above (pp. 7-32).
8187
BRITISH SCULPTURES, BY ARTIST'S NAME
8188
Winifrcd TURNER ( 1903-83)
8189
@@PROCESS
8190
583. Reclining woman with child
8191
30 cms. (height); 52 cms. (length)
8192
Teracotta of a rich orange colour. Incised `Winifred Turncr' by the
8193
feet. An old break in the comer of the mattress plinth behind the
8194
woman's right arm has been repaired.
8195
Given by the sculptor's elder sister, Jessica Tuner of 44 Munster
8196
Road, Fulham, after the exhibition of the work of Alfred and
Winifred Turner held at the Ashmolcan Museum, Oxford, 21 June-
8198
2 October 1988, through the National Art-Collections Fund.
8199
The statucttc is similar in style to sculpture which Winifrcd
8200
Turner exhibited in the mid-1930s such as 777o„g4f,
8201
completed by 1933 (Tatc Gallery), or Tty¢./¢j¢f, exhibited
8202
1936 (untraced but reproduced in Ray¢/ Ac¢deny I:##J£"fli£G¢
8203
for that year). Comparable works of this size were included
8204
in the exhibition at the Ashmolean Museum mentioned above
8205
where there is also an account of the sculptor's life and work
8206
(pp. 32-9).
8207
@@PROCESS
8208
174
8209
Ursula TYRWIIITT ( 1872-1966)
8210
@@PROCESS
8211
584. Head of Gwen John
8212
25.7cms. (height); 18cms. (length)
8213
Terracotta of a pale beige colour. Mounted on a soft wood block
8214
covered with mustard yellow velvet. There is a small aperture behind
8215
the head. The head is hollow but plugged with clay at the neck after
8216
modelling. In this plug a rectangular hole has been made for a peg.
8217
Given by the artist in 1965. ReSstered on 25 June
8218
The head is said to have been modelled in about 1907. Gwen
8219
John was then one of Rodin's models in Paris and Tyrwhitt,
8220
who had become a close friend of Gwen John and her brother
8221
at the Sladc in the l890s, was studying at the Atelier Colarossi
8222
there. Rodin was prevailed upon to look at the bust and is
8223
said to have remarked `continuez'. It was Tyrwhitt's only
8224
effort as a sculptor, however, and she was chiefly a painter in
8225
oils and watercolour. She gave the Museum drawings by both
8226
Augustus and Gwen John in 1964 and 1966, together with
8227
drawings and paintings by Wilson Steer, Stanley Spencer, and
8228
others. A misleading note in the Register dates the head to
8229
1921. A reminiscence of the artist by Richard Buckle is
8230
published in the catalogue of the exhibition Urf#/¢ I)i7ia?¢z.#..
8231
O#o"¢ P¢¢.„}Gr ¢7¢d Co//Gcfor held at the Ashmolean Museum
8232
October-November 1974 (in which the head was no. 49).
8233
Mrs Tyrwhitt lived for many years at 225 Iffley Road, Oxford.
8234
Her husband, Walter Tyrwhitt, was a second cousin and his
8235
branch of the fandly had been long settled in Oxford. The
8236
head seems to have been valued by the artist and was included
8237
in the Gwen John Memorial Exhibition at the Matthiesen
8238
Gauery, New Bond St, in 1946.
8239
BRITISH SCULPTURES, BY ARTIST'S NAME
8240
Factory of )osiali WEDGWOOD ( 1730-95)
8241
Probably after models by Henry Webbcr ( 1754-1826)
8242
@@PROCESS
8243
585 and 586. Pair of `bouquetiers'
8244
in the form of sarcophagi rising
8245
from banks upon which figures of
8246
Zephyr (585) and Flora (586)
8247
recline, leaning against urns
8248
14.9 cms. (height of 585); 21.I cms. (length of 585); 12.5 cms.
8249
(width of 585); 15 cms. (height of 586); 20.3 cms. (length of
8250
@@PROCESS
8251
586); 12.I cms. (width of 586)
8252
`Jasper ware' (fine hard stoneware, both pure white and stained).
8253
The figures and the ornaments are white, the rest the distinctive
8254
pale blue associated with Wedgwood. The banks, the sarcophagi,
8255
and their plinths seem to have been cast as one hollow unit from
8256
the sane mould in both 585 and 586. A platform was then fixed
8257
below and other elements-the figures (cast from a piece-mould),
8258
the uns, and the semi-transparent ornaments on the uns and
8259
sarcophad and leaves on the banks (the fomer from moulds, the
8260
latter freely modelled)-were added before firing. The figures are
8261
hollow as can be seen if Zephyr is examined from behind. In the case
8262
of 585 there are some losses on the thin leaves appred to the bank,
8263
and tiny cracks in the drapery by the side of the figure's left thigh,
8264
a chip missing from the top of the urn, and a minute one from one
8265
corner of the top of the sarcophagus. In the case of 586 there are
8266
tiny chips missing from the edge of the sarcophagus and minute
8267
firing cracks at the junction of the figure's right arm and her drapery
8268
and on the ledge beside her left arm. There are slight flaws in the
8269
casting of the figure's right foot distorting the distance between her
8270
largest toes and also the shape of her smallest toe. `WEDGwooD' is
8271
impressed on the underside of both 594 and 595.
8272
Bequeathed by C. D. E. Fortnum in 1899. C. 289 and C. 290 in his
8273
large manuscript catalogue. These items, together with a blue and
8274
white cup and saucer (C. 291-2), `and other pieces of that same
8275
servicethreevasesandotherswereinapalaceatForh'andpurchascd,
8276
after, by me'. No date is given for the purchase but it is likely to
8277
have been in 1880 or shortly before. It is not included in the
8278
notebook catalogue compiled in the 1870s and is a lower number
8279
than C. 297 which was a piece ofwedgwood acquired in 1880.
8280
Fortnun described these pieces as `jardinieres or crocus vases'
8281
but they are more likely to have been `bough pots' or
8282
`bouquetiers' (Wedgwood's terms) for the display of cut
8283
flowers. Water could easily be poured in and out through the
8284
Hms beside the figures but it would be hard to introduce, and
8285
mpossible to remove, soil such as jardiniercs require.
8286
Fortnum in his large catalogue understandably identified the
8287
figures as `Cupid' and `? Psyche' but C. F. Ben altered this
8288
to read `Zephyrus' and `Flora', surely correctly. The female
8289
figure is identified as Psyche in the versions in green and
8290
white and blue and white jasper in the conection of Arthur
8291
Sanderson (F. RIthbone, A C¢£¢/og#c a Co//Gcffo% . . .
8292
(Ijondon, 1903), 45, nos.105, 106). iinother blue and white
8293
version in inferior condition is in the Buten Muscun of
8294
Wedgwood, Merion, Pennsylvania (H. M. Butcn, WGdgrwood
8295
R¢%.£¢.cf (Merion, 1969), 193, no. 3555). Versions have been
8296
dated 1780 and 1790 (Rathbone, op. cit.). Robin Rcilly
8297
informs mc that he has found no record of these pieces either
8298
in early catalogues or in manuscript records and notes that
8299
they arc very rare. Hc considers it likely that they were first
8300
produced c.1790-5. They have been attributed both to Henry
8301
Webber and to John Flaxman, but the style would be unusual
8302
for the latter. Webber was the son of a Swiss sculptor and a
8303
pupil of John Bacon. Hc was active as a modeller in wax and
8304
his first exhibit at the Royal Academy in 1775 was in this
8305
medium. In 1784 he entered into a seven-year contract with
8306
WedgwoodasamodcllerontherccommendationofReynolds
8307
and Chambers and he travelled to Rome and sent work back
8308
from there. His only large-scale work in marble is the
8309
monument to David Garrick in Westminster Abbey dated
8310
1797 in which the drapery folds are relatively smaller, and
8311
more repeated, than in these figurincslloser in style to
8312
Bacon.
8313
Fortnum was not a keen collector of British ceramics as he
8314
was of Italian Renaissance ones, but he liked to have samples
8315
of all major factories and bodies. Significantly these items were
8316
notacquiredinBritain,whercWedgwoodwaskeenlycollected
8317
by others, but in Italy. These `Bouquetiers' and some other
8318
pieces were, it seems, picked up by him in Ford' (where he
8319
rfught wen have been looking for mar'olica); a Wedgwood
8320
scent bottle (C. 297) was given to his wife by Alessandro
8321
Castcllani in Rome in 1880.
8322
@@PROCESS
175
8324

                
8325
BRITISH SCULPTURES, BY ARTIST'S NAME
8326
BRITISH SCULPTURES, BY ARTIST'S NAME
8327
@@PROCESS
8328
176
8329
Henry WEEKES RA ( 1807-77)
8330
@@PROCESS
8331
587. Bust portrait of an unknown
8332
man
8333
79.5 cms. (height including socle); 49 cms. (width); 13 cms.
8334
(height of socle)
8335
Plaster of Paris, coloured irregularly yellow-grey with spots of white
8336
revealed in parts where scratched or worn. Thick hollow cast. No
8337
seams are visible. The socle is broken and a large portion is missing.
8338
`H. WEEKES. SC.' is incised across the flat back of the bust. A paper
8339
label was formerly attached to the chest printed with the numerals
8340
@@PROCESS
8341
182.
8342
Given by Mrs Austin Imgland of Clanfield House, Abingdon, in
8343
1973. ReSstered 3 May.
8344
A portrait of this type, with the generalized treatment of heavy
8345
drapery in the manner of Chantrey, for whom Wcckes worked
8346
as assistant and whose studio he took over in 1841, is hard
8347
to date but is most characteristic of weekes during the 1830s
8348
before he strove to achieve a more independent manner.
8349
@@PROCESS
177
8351

                
8352
BRITISH SCULPTURES, BY ARTIST'S NAME
8353
Sir RIchard WESTMACOTT RA ( 1775-1856)
8354
@@PROCESS
8355
588. Hindu girl (fragment)
8356
32.5 cms (height); 41 cms. (length)
8357
Plaster of Paris, painted with a creamy stone colour. Hollow cast
8358
from a piece-mould with numerous vestigial seams rcmalning. The
8359
work is sawn across the upper chest. The sculpture was cleaned and
8360
restored in 1987 by Miss Rachel Kenward. A patch of cracked
8361
plaster across the front of the chest and a dent in the chin and the
8362
recently drilled-out eyes were repaired and painted to match the
8363
rest of the bust.
8364
Given to the University Galleries by the sculptor in 1851 (see
8365
Preliminary Essay 2). According to the H¢7?d4oo4 G#;dc of 1859 it
8366
was on display at the west end of the principal sculpture gallery (the
8367
Randolph Gallery) companion with a Brahmin also by Westmacott.
8368
It was still there in 1865 but was probably removed in the l880s
8369
and has been in store during the whole of this century. It was sawn
8370
up in 1939.
8371
Wcstmacott's monument to Alcxandcr Colvin is in St John's,
8372
the old Cathedral of Calcutta. It consists of a high refief of
8373
two female personifications-Commerce with a caduceus and
8374
Industry with a beehive-seated in an embrace above a
8375
sarcophagus which is inscribed `To the memory of/ Alexander
8376
Colvin. / This tablet is inscribed by/ The Merchants of
8377
Calcutta, / Who having for forty years witnessed in him / An
8378
union of those talents and virtues / Which best adorn their
8379
profession / Do most honor to a character in private
8380
life / Thus record / Their affectionate esteem for him whilst
8381
living, / And their sorrow for his death. / Born IIIrd APRIL
8382
@@PROCESS
8383
178
8384
A.D. MDCCLVI. / Died XVI DECEMR A.D.
8385
MDCCCXVIII.' On a ledge in front of the sarcophagus to
8386
the bcholder's left is crouched a Hindu girl on a mat with
8387
her right hand upon her raised left knee and her other upon
8388
a water jar, her pensive expression indicating her grief at the
8389
loss of her benefactor.
8390
The monument is dated 1821 (and was therefore
8391
completed, but not necessarily erected, by then). Westmacott
8392
exhibited this figure at the Royal Academy in that year
8393
(no.1085, `A Hindoo girl; a statue in marble being pall of
8394
a monument to be erected in memory of Alexander Colvin,
8395
Esq.'). The idea of exhibiting a separate pathetic figure from
8396
a monument at the Royal Academy exhibition can be traced
8397
back to 1815 when Wcstmacott showed the kneeling negro
8398
slave from his monument to Charles James Fox made for
8399
Westminster Abbey. In 1819 he exhibited a mourning
8400
`Pcasant Girl' from his monument to Ijord Penrhyn at
8401
Llandcgai in North Wales (for which see N. 8. I'enny, C¢#grc¢
8402
Monttments in Romantic England (Now HZNen, Corin., and
8403
I.ondon,1977),189-92). The success of these may have
8404
emboldened him to create his Ho#Jc/cJf £7i¢77c//c7', an
8405
independent figure which although designed as a monument
8406
was, significantly, purchased as a gallery piece (for Bowood
8407
by the earl of Lansdowne) when exhibited at the Academy
8408
in 1822. The `Brahmin' and `Mussulman Moulah' from his
8409
monument to Warren Hastings in Calcutta which
8410
Westmacott exhibited in 1829 owed something to the II¢.#d"
8411
g¢.71/ of 1821, whose significance had, however, never been as
8412
precise as these.
8413
BRITISH SCULPTURES, BY ARTIST'S NAME
8414
Sir Richard WESTMACOTT RA ( 1775-1856)
8415
@@PROCESS
8416
589. Trial of socrates
8417
76.5 cms. (height); 128 cms. (length)
8418
Plaster of Paris, palntcd a creamy stone colour. The paint is
8419
extensively flaking especially on the podium and the figures of the
8420
judges and above the head of socrates. There are numerous small
8421
scratches and losses and chips are missing from the cloak of the
8422
figure leaning on a staff, from the top left corner, and from the
8423
projecting front ledge
8424
Given to the University Galleries by the sculptor in 1851 (see
8425
Preliminary Essay 2). According to the ZJ¢7¢dfroo4 G#¢.de of 1859 it
8426
was on display near Flaxman's S¢G.G/d a/Ac4¢.//" at the top of the
8427
stairs leading from the main sculpture gallery (the Randolph Gallery)
8428
to the Crypt or sub-gallery. It was still there in 1865 but was
8429
probably removed in the 1880s and has been in store during the
8430
whole of this century.
8431
Westmacott's relief of the Ty¢.¢/ a/Soc7¢££f was commissioned
8432
by Thomas Coke of Norfolk (later first carl of Leicester of
8433
the second creation) for his seat Holkham Hall. It was fiilly
8434
paid for on 27 December 1824 and was probably by then
8435
fixed in place in the great entrance hall where it remains. The
8436
total cost was £3616J. The first payment of fl50 was made
8437
in October 1821, but the work seems to have been
8438
contemplated if not commissioncd by 21 July 1818,
8439
apparently as a reflection of political pamphlets published in
8440
the previous year which attacked and defended Coke's Whig
8441
stance against the government's suspension of habcas corpus
8442
citing the trial of Socrates. Chantrey's relief of the signing of
8443
Magna Carta was made a decade later as a companion piece.
8444
These and other reliefs at Holkham are discussed and
8445
illustrated by W. 0. Hassall and N. 8. Penny, `Political
Sculpture at Holkham', Co#%o¢.jirG#gr (July 1977), 207-11.
8447
BRITISH SCULPTURES, BY ARTIST'S NAME
8448
Sir RIchard WESTMACOTT RA ( 1775-1856)
8449
@@PROCESS
8450
590. Nymph with Zephyr
8451
(fragment)
8452
30.9 cms. (height); 36.4 cms. (width)
8453
Plaster of Paris, coated with shellac, now discoloured. Hollow cast,
8454
recording the lost original clay model. The work is sawn across the
8455
back wall of plaster and cracked across the thinner front wall. The
8456
nymph's ralscd left arm is terminated at what was an oridnal joint
8457
in the cast. The broken pine support now projecting was thrust into
8458
the wet plaster of the cast body to serve as an armature for the
8459
separately cast arm which would be slipped over it.
8460
Given to the University Galleries by the sculptor in 1851 (see
8461
Preliminary Essay 2). According to the H¢„¢froo¢ G#£de of 1859 it
8462
was on display in a recess of the Chantrey Gallery (the present Ruskin
8463
Lecture Hall) companion with a `Beggar Girl' (the Q)(Pry, No. 601).
8464
It was still there in 1865 but was probably removed in the l880s
8465
and has been in store during the whole of this century. It was sawn
8466
up in 1939.
8467
Westmacott's `Groupe, in marble of a Nymph and Zephyr,
8468
for the Gallery of Earl Grosvenor', consisting of a nude givl
8469
clutching a putto with butterfly wings to her bosom with her
8470
@@PROCESS
8471
180
8472
right arm and holding a butterfly just out of his reach with
8473
her left, was exhibited at the Royal Academy in 1828 (as
8474
no.1214). The group was a variant on a theme Westmacott
8475
commenced in the Nyowp¢ 7pG.*¢ Cape exhibited the year
8476
before (for the earl of Egremont at Petworth). He employed
8477
the same model for both these nymphs and for his N)JowP47
8478
#»c/4JJP¢."g 4G7 zo7¢e exhibited 1824 ( fomerly at Castle
8479
Howard, the plaster of which survives in the Soane Museum).
8480
The Nyowp¢ w¢.£¢ Zcpkyr was commissioned by the second
8481
Earl Grosvenor (later marquess of westminster) and survives
8482
in the family possession (with some small sad losses) at Eaton
8483
Hall, Cheshire. The esteem with which it was regarded when
8484
acquired is reflected by its inclusion among the art treasures
8485
in the group portrait of the Grosvcnor family in the sumptuous
8486
new gallery of their I,ondon house painted by Charles Robert
8487
Leslie in 1831 ( 777c Trc¢f#rc Ho#fGf a/B".ira;¢." (National
8488
Gallery of Art, Washington,1985), no. 530, p. 580). With
8489
the exception of the unsuccessful Eap¢rny"c, the Nyowp¢ ¢»¢
8490
ZGpkyr was Westmacott's last exercise in the mode of
8491
Canovian classical sculpture which he commenced in 1822
8492
(the year of Canova's death) with his C„P¢.d and Pryc4c for
8493
the duke of Bcdford.
8494
BRITISH SCULPTURES, BY ARTIST'S NAME
8495
@@PROCESS
181
8497

                
8498
BRITISH SCULPTURES, BY ARTIST'S NAME
8499
Sir Richard WESTMACOTT RA ( 1775-1856)
8500
@@PROCESS
8501
591. Bust portrait of the llth earl
8502
of Pembroke
8503
56 cms. (height, including socle); 13 cms. (height of socle);
8504
20 cms. (diameter of soclc)
8505
Plaster of Paris, painted a creamy stone colour in two coats on top
8506
of a dirty and yellowed coat of shellac. The paint has flaked
8507
extensively and on the socle the dirty layer is exposed. The cast has
8508
thick walls. Thcrc is a crack across the neck and collarbone.
8509
`WESTMACoTr' is stamped in the plaster on the back of the socle.
8510
`100' is printed on a paper label stuck to the tablet of the socle.
8511
Given to the University Galleries by the sculptor in 1851 (see
8512
Preliminary Essay 2). Probably displayed with the busts by Chantrey
8513
for about thirty years and thereafter stored with them. I.ong believed
8514
to be one of the busts by Chantrey.
8515
Westmacott's monument to the eleventh earl of Pembroke in
8516
the nco-Romanesque parish church at Wilton, Wiltshire,
8517
consists of a relief of a group of peasants lamenting their
8518
protector whose bust is placed in a tondo above (see N. 8. -Penny , Church Monuments in Romantic_ Pngl?nd I:r:: ,
8519
Haven, Conn., and Ijondon, 1977), pl.18 and p.196). This
8520
bust is the same as the version on the monument but without
8521
drapery and with a socle. The earl died in 1827. A marble
8522
version of the bust in Wilton House is dated 1830.
8523
@@PROCESS
8524
182
8525
BRITISH SCULPTURES, BY ARTIST'S NAME
8526
Sir Richard WESTMACOTT RA ( 1775-1856)
8527
@@PROCESS
8528
592. Gypsy (fragment)
8529
29 cms. (height from fractured chest to top of head)
8530
plaster of Paris, painted, probably oridnally, with a creamy stone
8531
colour now brown. Hollow cast, recording the lost original clay
8532
model. The work is sawn across the upper chest and smashed,
8533
perhaps subsequently, around the sawn edge. The sculpture was
8534
cleaned in 1987 by Miss Rachel Kcnward.
8535
Given to the University Galleries by the sculptor in 1851 (see
8536
Preliminary Essay 2). According to the H¢»d4oo4 G"¢.de of 1859 it
8537
was on display in a recess of the Chantrcy Gallery (the present Ruskin
8538
Lecture Hall) companion with a `Nymph and Cupid' (Nyowp47 wZ£¢
8539
ZGpkyr, No. 590). It was still there in 1865 but was probably removed
8540
in the 1880s and has been in store during the whole of this century.
8541
It was sawn up in 1939.
8542
Westmacott's sculpture of a seated gypsy girl exhibited at the
8543
Royal Academy in 1832 (no. I 178, as `The Gipsey; a statue
8544
in marble'), was acquired by the fourth earl of Egremont for
8545
the great sculpture collection at Silvcrton Park, but is now
8546
untraced. In a letter of 12 January 1852 in the Department's
8547
archives Wcstmacott recalls that `In executing this statue I
8548
had overlooked a pecuharity, and it brought on me a reproof
8549
from her Mother on sccing the model, she said it was not
8550
her Daughter, on asking an explanation it appeared I had not
8551
noticed a lock of hair on her forehead, which was separated
8552
from the mass, and passed over it. It was the badge of her
8553
Tribe. The work was only in clay, and my modelling stick
8554
corrected the oversight in a moment, and the old Mother and
8555
I became good ffiends.' Family papers at Orchard Wyndham
8556
reveal that Westmacott sold antique marbles and vases to the
8557
fourth earl of Egremont during the 1830s when he was tr}ing
8558
to crcatc at Silvcrton a gauery to rival that at Pctworth created
8559
by previous earls, a gallery which he had not inherited with
8560
the title.
8561
@@PROCESS
183
8563

                
8564
BRITISH SCULPTURES, BY ARTIST'S NAME
8565
@@PROCESS
8566
184
8567
BRITISH SCULPTURES, BY ARTIST'S NAME
8568
Joseph WILLEMS (d. 1766)
8569
@@PROCESS
8570
593 and 594. Lady and gentleman
8571
dancing
8572
31.2 cms. (height of male figure (593) including plinth); I.3 cms.
8573
(height of plinth); 10.7 cms. (length of plinth); 9.I cms. (width
8574
of plinth); 30.6 cms. (height of female figure (594) including
8575
plinth); I.3 cms. (height of plinth); 11.I cms. (length of plinth);
8576
10.6 cms. (width of plinth)
8577
Terracotta of a rich orange colour painted in oil colours. The colours
8578
have held well: both faces retaining some rose in the cheeks. The
8579
|ady's blue ribbon matches the gcntleman's waistcoat. The prevailing
8580
colour is of slightly green grey stone. The paint has crazed and
8581
wrinkled extensively and flaked off in some areas to reveal a pale
8582
ycllowed gesso preparation in some cases and in others the clay
8583
itself. There are traces of gilding on the lady's bodice. The lady has
8584
been hollowed but the aperture in the underside of the plinth has
8585
been smeared over so as to be considerably smaller than the hollow.
8586
The gentleman is of similar weight but if hc has bccn hollowed
8587
(which is likely) then the plinth has been built up afterwards. Thcrc
8588
is a break through the man's left thigh and the contiguous corner of
8589
his jacket. Chips are missing from his right sleeve and from the back
8590
corner of his tricom hat. There is a break through the lady's neck
8591
and the plaster repair of this is evident. There is also a break across
8592
the front left corner of the plinth. `WILLEMs 1749' in large irregular
8593
capitals is incised on the proper left face of both plinths, the date in
8594
the case of the male figure running on to the chamfered corner.
8595
The letters arc angular (the `W', typically, composed of two `V's).
8596
They have no burr and the clay surface sccms not to have risen in
8597
response to the downward pressure of the strokes. They must have
8598
bccn cut in the leather-hard clay.
8599
Given by the dealer Cyril da Costa Andradc of Morocco House,
8600
Bayard's Cove, nr. Dartmouth, Devon. Redstered (as `Figures of
8601
Actor and Actress') on 12 May 1959. A note in the RCSster records
8602
their acquisition for 165 guineas from the collection of `Fred Skull,
8603
High Wycombc' with the refcrcnce Christie's, 234 April 1952, lot
8604
78. For other gifts by Andrade see Nos. 457, 487, and 570. The
8605
figures seem always to have been displayed in the Chambers Hall
8606
Room.
8607
Willems is described in his own will as born in Brussels but
8608
at what date is unknown. Hc married in Tournai in 1739 so
8609
he is likely to have been born before 1720. He is known to
8610
have worked as a modeller at the Chelsea porcelain factory
8611
of Nicolas Sprimont and it is tempting to associate him with
8612
the commencement of an interest in figurative models taken
8613
by that factory after 1749 (when Sprimont's partner Gouyn
8614
retired) or at least with the estabhshment of a `house style'
8615
in modelling after about 1753. The evidence of his association
8616
with Chelsca cannot, however, be documented previous to
8617
1755-8 when `Williams' and Sprimont were mentioned
8618
together in the Chelsea rate books as tenants of a house thcrc.
8619
In 1763 hc is recorded-this time correctly spelt `Willems'-
8620
in „o7f¢.owG7'f U„¢.pGr£4r/ D¢.rccfory ((I.ondon, 1763), i. 19)
8621
as `Modellcr at the Brussels Coffcc House, Chelsea' where hc
8622
taught drawing and modeuing, with the note that `he has
8623
modelled for the Chelsea china factory for many years'. It
8624
seems reasonable to identify him with the Williams who
8625
exhibited at the Society of Artists between 1761 and 1766,
8626
not least because some of his works (for example, `A model
8627
of Leda' and `A figure of cleo [Clio]' in 1763) were subjects
8628
treated in porcelain. He left Enaland soon after February 1766,
8629
invited to the Tournal porcelain factory by its director, and
8630
died in Toumal on I November. The posthumous inventory
8631
of his effects included `plusicurs grouppes de rondc bosse de
8632
terre cuite et color6cs cn blanc de sa composition et par lui
8633
modcl€es'. (A. I.ane, `Chclsca Porcelain Figures and the
8634
Modeller Joseph Willcms', Co„"o¢.ffc#r (May 1960), 245-
8635
51.)
8636
From the above account the importance of the signed
8637
models in the Ashmolean is clear. `Hitherto wc have not been
8638
able to confirm Willems's presence in England, or at Chelsea,
8639
before 1755. But an important document has now come to
8640
light in the form of two terracotta figurcs', wrote Arthur
8641
Lane. `We cannot say for certain whcthcr the artist made
8642
them here, or brought them with him ready-made from
8643
abroad. But we may presume that Willems must by then
8644
[ 1749] have reached Enaland, and been available for
8645
employment by his fellow-countryman Sprimont at the very
8646
moment when the Chelsea factory embarked on its new
8647
programme of making figures' (ibid. 248). I.one proceeded
8648
to point out the affinities in style between the figures and
8649
those in Chelsea porcelain. No figures in porcelain correspond
8650
in pose but there are a number which are not dissimilar,
8651
although more ornamental in colouring and accessories and
8652
in the handling of the extrcmitics. Those in the so-called
8653
Maypole group are particularly close (an example is on loan
8654
to the Fitzwilliam Museum, Cambridge 85-1955).
8655
There is no reason to suspect the antiquity of the terracotta
8656
dancers. Some at least of the colour is untikely to be origival
8657
(it covers chips which are unlikely to be kiln losscs). The
8658
cream underpainting may well correspond with the `blanc'
8659
finish mentioned in the artist's inventory. It should be
8660
observed, though, that the signatures and dates are
8661
suspiciously convenient in that they turn the figures into
8662
exactly the `document' porcelain historians wanted. The form
8663
and size of the letters and style of the sigmturc (with no f or
8664
fecit) are unusual in the eighteenth century.
8665
A sample was taken fi-om the female figure by Mrs Dorcen
8666
Stoneham of the Research Laboratory for Art and
8667
Archaeology in March 1987 and thermo-luminescencc tests
suggcstcd a firing date between 1677 and 1787 (ref. 38l-z-
8669
90).
8670
@@PROCESS
185
8672

                
8673
BRITISH SCULPTURES, BY ARTIST'S NAME
8674
h,,",#:,,..,,,i,,:ife'':i,;
8675
fry,i,;'#|ki#ELrEiir,,,'`'';j!#,`;###r'``'T:T''`':'i':;.I:'':''lffi
8676
.r,t+;,.,..::F:'+iifeife:'#':
8677
;,i:£±-,.:.f;:ii:,,.`':tii,*,,,,,,lj,,"''"i..",,,;`:ffi##,,1!!,
8678
I-,T--.I:+
8679
BRITISH SCULPTURES, BY ARTIST'S NAME
8680
[Francis] Dcrwent WOOD ( 1871-1926)
8681
@@PROCESS
8682
595. Bust portrait of Mrs Otto
8683
Gutekunst
8684
60 cms. (height); 49 cms. (length)
8685
Carrara marble. `Derwcnt Wood 1915' is chisellcd in small cursive
8686
letters to proper left of bust in the rough marble area below the
8687
bosom. The bust was accidentally knocked off its pcdcstal during
8688
the 1970s and broken clean across the neck. It was repaired 1983-
8689
4 by David Armitage of the Department of Eastern Art and the join
8690
is no longer apparent.
8691
Presented in 1948 by Mrs Otto Gutekunst (then of the Hotel
8692
Montana, I.ausanne) in memory of her husband. Registered on
8693
16 December. The bust stood until it was knocked off a pedestal
8694
behind the door of 4l Beaumont Street. Since restoration it has been
8695
in basement storage. The bust was given by Mrs Gutckunst together
8696
with a bronze head of a young boy. For other gifts by her see the
8697
Preliminary Essay to vol. ii.
8698
Mrs Gutekunst was the wife of a leading London art dealer
8699
associated, in the early years of the century, with the firm of
8700
Colnaghi. Dcrwcnt Wood was much in demand for his
8701
portrait busts from 1901, when hc was first established in
8702
I.ondon, until his death. The merging of the off-shoulder
8703
gown with rough-hewn marble was a motif made popular in
8704
high-society bust portraiture by Rodin of a kind which Wood
8705
must have sccn when he was in Paris in 1895 with a Royal
8706
Academy gold medal travelling scholarship. Notable examples
8707
of such busts by Rodin of English sitters wee exhibited in
8708
I.ondon in the early years of the twentieth century-for
8709
instance, the bust of Mrs Charles Hunter of 1908 (now
8710
belongivg to the Tate Gallery but on loan to Bethnal Green
8711
M:userm+-R. AINey , Catalogtte Of the Ta[te Gallery's Collection
8712
Of Mode1'.n Art other than Works ky British Artists (.hondor\,
8713
1981 ), 649-50, no. 4116).
8714
@@PROCESS
187
8716

                
8717
BRITISH SCULPTURES, BY ARTIST'S NAME
8718
Thomas WOOLNER RA ( 1825-92)
8719
@@PROCESS
8720
596. Bust portrait of Thomas
8721
Combe
8722
64.9 cms. (height of bust); 25.5 cms. (length of base of bust);
8723
18 cms. (width of base of bust); 123 cms. (height of pedestal);
8724
44.2 cms. (length of plinth of pedestal); 37.5 cms (width of plinth
8725
of pedestal)
8726
White Carrara marble, brown and grey with ingrained dust. The
8727
bust and its base are made of a single piece of marble. The surface
8728
of the marble has been grooved with the toothed chisel at the cutting
8729
of the chest, textured with smaller chisels around the base and in hair
8730
and beard, and retains the marks of a rasp all over the flesh. `T.
8731
wooLNER. SS / £oNDON' is chiselled on the proper left face of the
8732
base of the bust under the shoulder. `THOMAS CoMBE 1863' is
8733
chiselled in the shallow recess in the front face of the base. There
8734
are slots on both side faces of the base which perhaps relate to the
8735
original support. So too perhaps does the way that the lower part
8736
of the back face of the base has been roughly chamfered. Since
8737
coming to the Museum it has been mounted on a pedestal composed
8738
ofthrce pieces of dingy brown and pink marble with a smoky pattern
8739
@@PROCESS
8740
188
8741
(probably from Devon or Comwall and certainly British) lettered
8742
in gold with the names and dates of sitter and artist and the name
8743
of the donor.
8744
Given by Martha Combe, widow of the sitter, in 1894-before 13
8745
February when her husband's bequest ( mostly of Pre-Raphaelitc
8746
paintings) was accepted by Decree of Convocation (4»"#¢/ RGPo7?
8747
Of the Curators Of. the Unil7ersity Galleries, \894).1r\ \896 tine
8748
northern end of the Great Gallery was separated off by screens and
8749
the bust set up there with the Pre-Raphaelite paintings. This was
8750
made into a proper room, named the Combe Room, in 1909. The
8751
bust has been in storage in recent dccadcs, but was placed in the
8752
new Combe Gallery in 1988.
8753
Thomas Combe ( 1787-1872), one of the earnest patrons of
8754
the Pre-Raphaelitcs, with whom Woolner was associated, was
8755
Printer to the University from 1838, a keen supporter of the
8756
Hich Church Movcmcnt, and a zealous builder of schools
8757
and churches. The bust was exhibited at the Royal Academy
8758
in 1864 (no.1024, `Mr. Combe, of the Clarendon Press').
8759
The very solid base, lively texturing, and avoidance of polish,
8760
and the acceptance of modern dress, are characteristic of
8761
Woolner's bust portraiture generally.
8762
-`..
8763
'`!. -
8764
- ngh `
8765
Rap \to`'
8766
BRITISH SCULPTURES, BY ARTIST'S NAME
8767
Thomas WOOLNER RA ( 1825-92 )
8768
@@PROCESS
8769
597. Bust portrait of william Ewart
8770
Gladstone on a pedestal decorated
8771
with scenes from the JJ¢.¢d
8772
65.6 cms. (height of bust); 26 cms. (length of base of bust);
8773
19.8 cms. (width of base of bust); 143.8 cms. (height of pedestal);
8774
45.5 cms. (length of plinth of pedestal); 41.6cms. (width of plinth
8775
of pedestal)
8776
White Ca.mra marble, brown and grey with ingrained dust. There
8777
is a small dark grey flaw in the marble on the chest. The bust and
8778
its base are made of a single piece of marble and are supported on
8779
a pedestal composed of two pieces of marble (the plinth is separate).
8780
There arc chips missing from the uppermost moulding of the pcdcstal
8781
and at the junction of the two pieces of which the plinth is made.
8782
The surface of the marble has been left grooved with a toothed
8783
chisel (on the cutting of the chest and under the relief on the front
8784
face of the pedestal) and has been less obviously textured with smaller
8785
chisels (for example on the base of the bust and in parts of the reliefs
8786
on the pedestal). On close inspection the marks of the rasp have
8787
seldom been polished off. `WO0LNER. S€ / LONDON. J866' is chisellcd
8788
on the proper right face of the base of the bust under the shoulder
8789
(the second line in capitalized italics). `wlLLIAM EWART GIADSTONE'
8790
is chisellcd within the shallow smooth recess on the front face of the
8791
base.
8792
Transferred, together with the bust of the duke of Marlborough
8793
(No. 566), by the Curators of the Bodleian hibrary in 1926 (14„»#¢/
8794
Rcpo7t ( 1926), 24), from the Picture Gallery of the Bodleian Library
8795
to which it had been presented in 1866 by subscribers (W. D.
8796
Macray,14#„¢/f a/£f7G Bod/G¢.¢„ L!.4r¢ry (Oxford, 1890), 481 ). By
8797
\93L (Summary Gttide to t;he Department Of Fine Art. 47) it stood
8798
in the centre of the Combe Room companion with the bust of
8799
Combe (No. 596). It was in storage in recent decades but was
8800
placed in the new Combe Gallery in 1988.
8801
The portrait bust, which is of similar form to that of Combc,
8802
dated 1863 (596), is dated 1866, but the pedestal may date
8803
from a little later. Although obviously designed for the bust,
8804
the pedestal is not a perfect fit for it. `Reliefs from the Iliad.
8805
Pedestal of the bust of the Rt. Hon. W. E. Gladstonc,
8806
executed for the Bodleian Ganery, Oxford' was cxhibitcd by
8807
Woolncr at the Royal Academy in 1868 (no. 1027) and it
8808
would be surprising if hc had in fact completed it two years
8809
before. The reliefs were no doubt felt to be appropriate given
8810
Gladstone's interest, as translator and scholar, in Homer's
8811
epic. They were the first classical ones which Woolncr had
8812
exhibited at the Royal Academy and coincided with an interest
8813
in such subjects by the Pre-Raphaelitc painters. On the front
8814
face is carved `Achilles shouting from the trenches with Pallas
8815
Athena standing by his side', on the proper left face `Thetis
8816
rising from the water to console Achilles', and, on the proper
8817
right, `Thetis praying to Jupiter on behalf of Achilles'.
8818
Woolner was partial to embehishing pedestals with subsidiary
8819
reliefs (as in his design for a memorial to Wordsworth
8820
exhibited at the Royal Academy in 1852 with a copious
8821
description in the catalogue, and as in 777c Lo#¢'f P7i¢ycr at
8822
Wallingford, Northumberland, of 1856nd7). Woolner had
8823
worked in Oxford during the 1850s carving the relief (of
8824
Adam and Eve and the angel holding a nucleating cell, a work
8825
designed by James Hungerford Pollen ) over the main entrance
8826
of the University Museum, and a statue of Francis Bacon for
8827
the series of great scientists in the interior of the Museum. In
8828
1864 his statue of the prince consort was presented to the
8829
Museum by the citizens of Oxford and he exhibited his bust
8830
of Thomas Combe (No. 596).
8831
A rephica of the bust of Gladstone was completed for the
8832
Guildhall, I.ondon, in October 1882 made out of marble
8833
from the Parian quarries in Greece and reproductions in
8834
bronze by the firm of Elkington arc recorded (A. Woolner,
8835
Thomas Woolner: His Life in Imer§ (.hondon, L9\7), g22,
8836
n. 2; Sothcby's, Bclgravia, 8 Scptcmbcr 1976, lot 18). A note
8837
of 19 June 1969 by Ian I.owe in the Departmcnt's files records
8838
a plaster cast of the bust in the University Press Offices.
8839
@@PROCESS
189
8841

                
8842
BRITISH SCULPTURES, BY ARTIST'S NAME
8843
air j!1+
8844
(i
8845
@@PROCESS
8846
190
8847
BRITISH SCULPTURES, BY ARTIST'S NAME
8848
Joseph Shepherd WYON ( 1836-73)
8849
@@PROCESS
8850
598. Medallion profile head of
8851
HRH Alexandra, princess of Wales
8852
22.5 cms. (diameter of marble roundel as visible in its frame);
8853
32.5 cms. (height and width of outside of frame)
8854
White Carrara marble. The relief ground is textured with short
8855
regular hatched strokes crossing at an acute angle. `ALEXANDRA' is
8856
chisellcd in very fine, very widely spaced letters around the upper
8857
half circumference. `|. s. wVoN. SC.' is chisellcd in a diagonal line
8858
across the cutting of the neck. The medallion is set in a square ctlt
8859
wooden frame (almost certainly original) with a simple outer
8860
moulding and the spandrels showing the texture of the oak under
8861
the water-gilding with small round geometrical ornaments in each
8862
corner (t\ro patterns arc used, paired on the diagonal).
8863
Given by Mrs A. W. Fuller of Sheen House, 89 Himner I.one,
8864
Felpham, Sussex, in 1972. Rcdstered on 24 November. In reserve
8865
save for occasional exhibition until 1988 when placed in the newly
8866
refurbished Combc Gallery.
8867
The artist came from the family of medallists, die-cutters, and
8868
wax modellers which dominated the productions of the
8869
I.ondon Mint throughout the last century. He was the cldcst
8870
son of Benjamin Wyon ( 1802-58) who was appointed Chief
8871
Engraver of seals in 1831, the nephew of Thomas Wyon
8872
Junior ( 1792-1817) who was appointed Chief Engraver of
8873
the Royal Mint in 1815, and of Edward Williani Wyon ( 1811-
8874
1885) the sculptor, and he was grandson of Thomas Wyon
8875
( 1767-1830), appointed Chief Engraver of Seals in 1816.
8876
Joseph Shepherd Wyon was himself chiefly known as a
8877
medallist and was appointed Chief Engraver of Her Majcsty's
8878
Seals in 1858. Hc commenced exhibiting at the Royal
8879
Academy in 1855 but the first and only work of his specified
8880
as of marble to be shown there was no. 874 in 1864-
8881
`H.R.H. The Princess ofwales'-presumably to be identified
8882
with this medallion (or another version of it). The relief
8883
lettering and the idiosyncratic tcxturing of the ground reflect
8884
his cxperiencc working in metal.
8885
@@PROCESS
191
8887

                
8888
SCULPTURES OF THE BRITISH SCHOOL
Unassociated with a Named Artist, Craftsman, or Supplier
8890
BRITISH SCULPTURES, UNNAMED ARTISTS
8891
@@PROCESS
8892
599. Bust portrait of King
8893
Heny VIII
8894
67.5 cms. (height excluding plinth); 64.5 cms. (length); 17.7cms.
8895
(height of plinth); 30.5 cms, (length of plinth); 30 cms. (width
8896
of plinth)
8897
White (probably Carrara) marble, discolourcd with ingrained dirt
8898
and abraded. Broken in two from the king's left shoulder down to
8899
the other side of his chest and crudely cemented together, with
8900
patches of plaster in fill to proper right of the pendant medal. The
8901
reverse of the bust is only slightly hollowed and is roughly hewn on
8902
the back of both cap and collar. The bust is mounted on a plain
8903
block of limestone unmoulded but with a large chamfer.
8904
Given to Oxford University by the dowager countess of Pomfret in
8905
1755. The collection included a large part of the `Arundel marbles',
8906
bought by her father-in-law Sir William Femor (later I.ord
8907
Lempster) from the sixth duke of Norfolk in 1691, and it is likely,
8908
but not certain, that this was one of them and was therefore acquired
8909
by the earl of Anmdel in the first half of the seventeenth century.
8910
The bust is recorded, perched on a high shelf at the far cnd of the
8911
sculpture gallery in the Old Schools, companion with Dieussart's
8912
bust of Prince Rupert (No. 471 ), in William Westall's watercolour
8913
drawing of 1813 (engraved in the following year for R Ackermann's
8914
A History Of` the University Of O>ifiord). It was cranstened to tine
8915
University Galleries where it is recorded in the H¢#dfoo4 G#¢.de of
8916
1859 in the Crypt or sub-gallery but visible to the public (p. 19,
8917
no. 59). It is not recorded in any guide made in this century and
8918
must have bccn put into store in the l880s or l890s. It was identified
8919
serving as a doorstop in the Museum basements in 1979 by Michael
8920
Vickers and was placed in the Randolph Gallery.
8921
The marble bust is a coarse copy of the somewhat routine
8922
bust of King Henry VIII at Lumley Castle which was already
8923
recorded there in 1590 upon one `front' of the Great Hall,
8924
in company with three others-`four livelie statues all
8925
wrought in white marble in memory of K. Henry the 8, King
8926
Edward 6, Qucne Marie and Q. Elizabeth'. These were the
8927
monarchs in whose reigns John, I.ord Lumley, lived. The four
8928
busts were made for Lumley in Florence in 1566 by an
8929
unknown sculptor employing medallic prototypes. The medal
8930
of Henry VIII would sccm to have been derived from one
8931
of Holbein's portraits. Michael Vickers, having made these
8932
connections, also pointed out the existence of a copy of the
8933
Lumley Castle Q;"cc» E/¢.z¢Gcff7 together with a companion
8934
bust of the earl of Leiccster in a private collection in I.ondon
8935
(both having come from Kimbolton Castle). The bust of I.ord
8936
Leicester (which he also shows to have derived ultimately
8937
from a medallic prototype) is, he supposes, also a copy of
8938
another marble bust which, he suggests, was once among the
8939
set at Lumley Castle. If so it must have been extracted from
8940
there by 1590 when the inventory mcntioncd above was
8941
made. Vickers argues that the copy of the bust of Leicester,
8942
and hence the other copies, including this one of Henry VIII,
8943
must have been made before the `disappcarancc' of the origival
8944
hypothetical bust of Leicester in 1590. There is much that is
8945
conjectural in this, but it is certainly true that `given Arundcl's
8946
interest in the Henrician Court, and in the art of Holbein in
8947
particular . . . it is cary to see why he should have owned the
8948
bust now in Oxford', although it should be added that it
8949
would be surprising if so great a connoisseur did not regret
8950
that this work was of such dismal quality. (M. Vickers, `The
8951
Changivg Face of Henry VIII', Co#„#)i LGrc (24 April 1980),
8952
1248-9; id., `The Medal of Robert Dudley, Earl of I.cicestcr
8953
in the Bibliotheque Nationale', N#owG.fee¢fS.c C47it7»G.c/G, 141
8954
(1981),117-19.)
8955
@@PROCESS
195
8957

                
8958
BRITISH SCULPTURES, UNNAMED ARTISTS
8959
@@PROCESS
8960
600. Court cupboard with a lion
8961
and unicorn sejant, a pair of atlantes,
8962
and a pair of griffins as supporters
8963
@@PROCESS
8964
127 cms. (height); 128.8 cms. (length); 47.5 cms. (width);
8965
38.8 cms. (height of lion); 38.9 cms. (height of unicorn);
8966
43.5 cms. (height of griffins)
8967
Chiefly of oak and walnut. The carcass is of oak. Each supporter is
8968
made from a separate block of walnut. There is a geometric veneer
8969
of holly and sycamore with mahogany and burr walnut in the
8970
uppermost ffieze (part of which is also a drawer front). There is
8971
also inlay of holly and sycamore and bog oak in the ccntra.I and lower
8972
boards. The eyes of the animals are inlaid with bog oak (or an
8973
imitation of it). The carvings are in places encrusted with darkened
8974
deposits of polish. The shield and crown held by the lion are
8975
chipped, partly because of worm damage. The proper left griffin's
8976
left wing is missing and its other wing has split but been reattached.
8977
The tat of the same griffin is loose. `1606' is carved in large letters
8978
on the back of the uppermost ffieze. The upper board is a restoration
8979
as are the back and the base with the bun fcct and there is evidence
8980
of other repairs and perhaps of reconstruction (see below). A bluc-bordercd
8981
paper label, on the top of the back of the principal upright
8982
member, proper left, of the cupboard, is inscribed `w. E. MALLETr'
8983
in black ink.
8984
Given, together with fiftccn other pieces of furniture and some
8985
pieces of tapestry and needlework, by Miss Elizabeth Mallett in
8986
1961 in memory of her parents Margaret (who died on 15 May
8987
1959) and J. Francis Mallett (who died on 7 January 1947)-the
8988
latter was a notable benefactor of the Museum. Redstered on 21
8989
September. Previously in the collection of J. F. Mallett who had,
8990
presumably, inherited it from his father-in-law and uncle William
8991
Mallett-the W. E. Mallett of the label-n antique dealer in the
8992
Octagon, Bath. According to the museum's ReSster it came in 1903
8993
from Boume Place, now Compton Place, Bexley, Sussex.
8994
The `court cupboard' was the term employed in Elizabethan
8995
and Jacobean inventories for an open three-tiered `buffct' or
8996
`dresser'. `Court' came from the French for short, and
8997
`cupboard' meant a shelf for cups. They were used to display
8998
plate and also for serving. The shelves were covered with
8999
carpet or some rich textile; the drawers contained knives and
9000
spoons. There is an exceuent discussion of the type in Ralph
9001
Edwalds' s Dictionary Of English Fttrmitwre, 3 vo\s. (London,
9002
1954), ii. 177-83. Most examples have decorated bulbous
9003
supports but supporters in the form of heraldic or
9004
mythologival beasts are not unusual. Few, however, are as
9005
vigorously charactcrizcd as those on the Ashmolcan's
9006
`cupboard' which was singlcd out as of exceptional quality in
9007
Edwards's book (where it is fig.Ill on p.183) and was also
9008
included in the Royal Academy's exhibition of British Art in
9009
1934 (no.1267, illustrated as pl. 31 in the catalogue). The
9010
shields with the English rose and Scottish thistle place it after
9011
the accession of King James I in 1603. It is also said to be
9012
dated, although the first diSt of the `1606' must be an
9013
addition and the `606' may have been an inventory number.
9014
The Ashmolean's `cupboard' has also certainly been
9015
restored and it cannot be assumed that it docs not incorporate
9016
items from at least one other source. The atlantes which serve
9017
@@PROCESS
9018
196
9019
as supporters behind the lion and unicoriLcannot have been
9020
oriSnally intended to overlap the ornamental edge of the
9021
board upon which they rest. Neither the lion, nor the unicorn,
9022
nor either griffin, make satisfactory contact with the frieze
9023
above their heads: the lion's head has been made up at the top
9024
with wax (or some similar substance), and the unicorn's head
9025
appears to have been slightly cut down.
9026
Among other similar `cupboards' that in the Victoria and
9027
Albert Museuni is particularly close (but has a cherub in place
9028
of the hon mask in the centre of the central frieze and cherubs
9029
in place of the male and female masks in the upper friczc
9030
corner, also marble inlay in the upper frieze and caryatids in
9031
place of atlantcs). The lion, unicorn, and griffins, however,
9032
in that example have a sharpness in their carving which those
9033
in the Ashmolean's cupboard lack. A similar `cupboard' in
9034
the Burrell Collection ( 14/432) fomcrly in Brandeston Hall
9035
has fine lion supporters which, it is interesting to note, do
9036
not fit any more neatly than those here.
9037
BRITISH SCULPTURES, UNNAMED ARTISTS
9038
@@PROCESS
197
9040

                
9041
BRITISH SCULPTURES, UNNAMED ARTISTS
9042
@@PROCESS
9043
601. Four Ionic pilasters decorated
9044
with caryatids attached to a pier
9045
62 cms. (height of each); 86.5 cms. (height of table to which they
9046
are attached)
9047
Oak.
9048
Provenance unknown.
9049
The four pilasters are attached to the central octagonal pier
9050
support of an octagonal oak table with one disguised drawer
9051
in the gadrooned frieze. The table serves to support a case
9052
displaying some of Fortnum's collection of rings. It was
9053
assembled in the Museum's workshop for this purpose. Such
9054
pilaster carvings could easily have been detached from
9055
damaged or cumbersome items of furniture but they survive
9056
in suspicious quantities. These examples look like ninetccnth-century
9057
imitations of Elizabethan or Jacobean carving, but
9058
might be genuine. Fortnum owned a couple of pilasters of
9059
similar character (but male and female whereas these are
9060
sexless) which he acquired from Pugiv. Hc had them `picked
9061
out with Slding and mounted as pilasters to support a cornice
9062
and form a frame to a looking glass' (prelininary catalogue
9063
(1857), 70, nos. 8 and 9, and visible in photographs of his
9064
house).
9065
BRITISH SCULPTURES, UNNAMED ARTISTS
9066
@@PROCESS
9067
602. Centre table with scrolled legs
9068
terminating in female heads
9069
supporting cushions
9070
73.5 cms. (height of table); 9 cms. (height of each head); 97 cms.
9071
(length of table top); 61 cms. (width of table top)
9072
Walnut. The legs and feet only are of solid walnut. The top, sides,
9073
and stretchers are of walnut veneered on a carcass of pine. The
9074
seaweed marquetry of the table top and sides is of walnut on a
9075
ground of sycamore. The moulded edge of the table top is veneered
9076
in cross-grain walnut. A piece of walnut has been added to each of
9077
the four heads at the top of the legs (the join can be seen in the
9078
proper left cheeks). The tasselled cushions arc carved out of separate
9079
blocks of walnut. Much of the wood is bleached; there are also
9080
cracks, stains, and scratches and some of the veneer has lifted. The
9081
drawer has been repaired. A circular paper label with a fringed
9082
border with the number 1113 in ink on it is stuck on the underside
9083
of the table top.
9084
Given to the Museum in 1958 (registered 18 June) from the
9085
collection of J. Francis Mallett and as part of his bequest which
9086
came to the Museum in May 1947-in advance of the gift of further
9087
items of furniture made by Miss Ehizabeth Mallett in 1961 in
9088
memory of her parents.
9089
The marquetry is of a pattern popular in British finniture
9090
around 1700, but the beauty of the heads with the ropes of
9091
pearls in their hair is remarkable. There is an echo here of the
9092
silver furniture of the period such as the silver table with
9093
harpy legs made for King Charles 11 and now at Windsor
9094
Castle. Similar but larger female heads were popular in
9095
furniture made in about 1730 such as the term piers in the
9096
Queen's Guard Chamber at Hampton Court. A side table in
9097
the Fitzwillian Museum, Cambridge (M4-196l ) which has
9098
both scrolled legs and heads of an antique character may be
9099
regarded as a rich and bold descendant of this one.
9100
IncludedinMissMallett'sgiftof1961wasalowboycabinet
9101
of seaweed marquetry of the same period and a chest of
9102
drawers of floral marquetry of great richness on corkscrew
9103
legs (see Appendix 2 to this volunc).
9104
@@PROCESS
199
9106

                
9107
BRITISH SCULPTURES, UNNAMED ARTISTS
9108
@@PROCESS
9109
603. Relief bust portrait ofa Knight
9110
of the Garter
9111
54 cms. (height); 48.4 cms. (width)
9112
White Carrara marble, somewhat discoloured from ingrained dirt.
9113
The rim has been chipped below the chest.
9114
Provenance unrecorded.
9115
The chain worn over the ermine is that of a Knight of the
9116
Garter. The sitter is hkely to bc one of the great Whig
9117
magnates of the early eighteenth century but at no other
9118
period in modern British history have artists made men look
9119
so alike. It is not, in fact, impossible that King Gcorgc I is
9120
intended, for he was painted by Hudson in this style (with
9121
long loose wig forward over one shoulder, lace jabot, garter
9122
couar over ermine) and hc had a similar jowl and broad nose.
9123
The mouth however is larger in paindngs and prints of that
9124
monarch. The carving looks like a copy by an artist of limited
9125
ability made from a sculptural prototype or, more probably,
9126
from a two-dimensional portrait. The management of the
9127
emine collar suggests uncertainty as to the actual nature of
9128
the garment represented and the truncation of the bust is
9129
unhappily managed.
9130
BRITISH SCULPTURES, UNNAMED ARTISTS
9131
@@PROCESS
9132
604 and 605. Pair of ewers
9133
ornamented with garlands, scrolls,
9134
masks, and fish
9135
34.4 cms. (height); 10.4 cms. (diameter of feet)
9136
The vases are composed of pieces of C¢¢.//o#Jc d'Eg¢.#o, a rare jasper
9137
of the colour of coffee into which cream has been partially stirred,
9138
figured in the paler bands with miniature branched black lines.
9139
(For samples of this stone see the display in the Museo dell'Opificio
9140
delle Pictre Dure in Florence, Row G, 421nd, also A. 97 in the
9141
appendix of A. M. Giusti, P. Mazzoni, A.-P. Pampaloni Martclli, JJ
9142
Mu§eo dell'Opificio delle Pietre Dare (`FLorence. \978), afuc[ p. 364.)
9143
The jasper is mounted in ormolu (fire-Slt copper, rather than
9144
bronze). The cagework around the body of each vase conceals the
9145
different pieces of jasper employed. These `cages' are each cast in
9146
two separate pieces. The cartouches containing masks of Pan (or at
9147
least a satyr) and masks of a nymph, also the dolphin-like fish, the
9148
ribbons, and the scrolls which are linked with them around the upper
9149
shoulder of each vase form one piece: the crossing garlands and the
9150
divisions of the gadrooned swellings in the lower part of each vase
9151
form another. The junctions between these pieces are no longer
9152
perfect. The thinner elements of ormolu have probably been
9153
embossed before being chiselled. The outer rim of each foot with
9154
miniature machined cable and guilloche ornament is a Later addition.
9155
`M. ¥' and `M. ¥' are painted in black on the ctlt copper plates
9156
beneath the feet.
9157
Bequeathed by J. Francis Mallett who died 7 January 1947. Received
9158
in the Museum during the last week in May 1947. No.182 in the
9159
inventory of his bequest. Valued by Mallctt at £303. Acquired by
9160
him at the sale of the Folcy Heirlooms, Ruxley I.odge, 1919. In
9161
one of the ewers I found in 1986 a piece of crumpled paper with
9162
`HEIRLooM 1869' printed in Gothic letters in a circle. This date
9163
was crossed through and 1887 written in brown ink above it. This
9164
in turn was also crossed through and `Baron Foley Ruxley h)dge,
9165
sold 1919' written above it in blue ink. The ewers had therefore
9166
belonged to the Foley family before 1869. The ewers were displayed
9167
in the 1950s but had long been in store when they were put on
9168
exhibition in the Wcldon Gallery in 1985.
9169
The basic shape of these ewers-the bold scroll of the handle
9170
and its fantastic oriSn in a realistic hen's foot clutching a
9171
shell, also the gadrooning of the body-is reminiscent of
9172
ornamental plate of the seventeenth century, but the garlands
9173
and, stu more, the asymmetrical scrolls of the cartouches and
9174
the rock-work fringe to the mask of a river god below the
9175
lips, which are all tooled with such finesse, indicate a date in
9176
the eightccnth century. Mallctt described the ewers as English
9177
and of c.1740, presumably by analogy with work in silver:
9178
similar Pan and nymph masks, cartouches, and fish are found,
9179
for instance, in the four candlesticks made by John Jacob in
9180
the early 1740s (Ashmolcan Museum, Farrer Collection 114
9181
(i)-(iv) ) and the somewhat flat garlands are common in
9182
tableware made by Paul de I.ancrie and others in this period.
9183
All these motifs, howcvcr, arc of continental origiv. Cagework
9184
was popular in the middle decades of the cightcenth century,
9185
especially for gold boxes often in conjunction with a rare
9186
jasper, or with agate, but on a much smaller scale. Some of
9187
these boxes were made in I.ondon which again supports the
9188
idea that these ewers might be English.
9189
@@PROCESS
9190
201
9191
@@PROCESS
200
9193

                
9194
BRITISH SCULPTURES, UNNAMED ARTISTS
9195
@@PROCESS
9196
202
9197
BRITISH SCULPTURES, UNNAMED ARTISTS
9198
@@PROCESS
9199
606. Bust portrait of a man
9200
59,.15 cms. (height)
9201
Limestone thickly coated with shellac and paint perhaps intended to
9202
resemble bronze. The crust of these coverings has flaked off on the
9203
lips, the end of the nose, the top of the forehead, and on some
9204
salient curls of the wig. A portion of the stone has broken away to
9205
proper right and only a part of this has been refixed. The stone has
9206
only been slightly hollowed behind.
9207
Provenance unrecordcd.
9208
The stone would appear to be deteriorating and the coatings
9209
may have been intended to arrest its crunbhng: they certainly
9210
eliminate the little surface intcrcst that the bust is likely to
9211
have posscsscd. The bands and gown suggest a portrait of
9212
an academic and the bust may well have come from a local
9213
church-perhaps from a dilapidated monument. It is similar
9214
to the busts on many carly eighteenth-century monuments in
9215
Oxford.
9216
@@PROCESS
9217
607. High-relief bust portrait of
9218
rig James 11
9219
15.2 cms. (height of bust); 20.6 cms. (height of visible relief);
9220
18 cms. (width of visible relief); 28 cms. (height of shadow box);
9221
24.5 cms. (width of shadow box); 25.5 cms. (height of class
9222
support); 21.8 cms. (width of glass support)
9223
The bust is of coloured wax, slightly hollow. It has come loose from
9224
its glass support (but has been photographed in place). The support
9225
is painted with thin coloured wax and also built up in low relief.
9226
There is a dent and crack to the end of the nose which has also lost
9227
its colour. A portion of one of the low-relief curtain ropes has been
9228
lost. The thin wax of the sky has crinkled perhaps from heat. The
9229
support is set within a deep tray frame of pine stained black. This is
9230
probably original, and is enclosed in a shadow box (not
9231
photographed) of the same date, also of pine stained black, with
9232
glossy black paint around an oval aperture. `RING JAMES 11' has been
9233
written at a later date in gold letters on the lower part of the glass.
9234
On the backboard there is an old deteriorating paper label inscribed
9235
`3474.1887' in ink. The number is repeated in pencil with a note
9236
also in pencil in the hand of C. F. Bell (see below).
9237
Presumably transferred to the University Galleries in 1887 ( see
9238
above) perhaps from the Bodleian Library or the old Ashmolean
9239
Museum.
9240
The note by C. F. Bell on the backboard is that `At Sudeley
9241
Castle, Gloucestershire there are a number of wax portraits
9242
precisely similar in style to the present. The fact that some of
9243
these represent personages of the late XVIII century period
9244
shows that this work also is of that date.' The portrait may
9245
also be compared with those of Mary and Agncs Berry in the
9246
Victoria and Albert Museum attributed to Samuel Percy who
9247
died in 1820 (A. 13 and A. 14-1970). The wax may well bc
9248
carlicr in date: these comparisons may only indicate the
9249
durability of conventions and techniques, but the franc and
9250
shadow box look original and arc typical of the late eighteenth
9251
century: in particular the dosry black paint on the glass was
9252
popular at that date especially for framing prints.
9253
@@PROCESS
203
9255

                
9256
BRITISH SCULPTURES, UNNAMED ARTISTS
9257
@@PROCESS
9258
204
9259
BRITISH SCULPTURES, UNNAMED ARTISTS
9260
@@PROCESS
9261
608. Urn with vine tendril handles
9262
34.3 cms. (height); 19.2 cms. (width, across handles); 17.2 cms.
9263
(height of handles); I.85 cms. (diameter of plinth)
9264
The urn is composed of three pieces of Derbyshire fluorspar (blue-john)
9265
each of which, to judge by the weight, is solid. The pieces,
9266
which arc securely fixed, consist of the concave tapering lid; a disc
9267
immediately below it, separated by a thin collar of moulding; and the
9268
main body of the urn. The base, handles, finial, and other ornaments
9269
are all of bronze, fire-gilded. The base consists of three separately
9270
worked elements: plinth, foot, and acanthus. Each handle is of a
9271
single piece.
9272
Bequeathed by Major T. Bouch, 1963. Received by the Museum
9273
on 20 November 1963. For more on the bequest see Nos. 451,
9274
@@PROCESS
9275
452, 469. Lent to the City Art Museum, Derby, on 27 May 1981.
9276
The workmanship and design of this urn are of superlative
9277
quality: the minute punched texturing of the bay, acanthus,
9278
and vine leaves is as fine as their modelling is crisp. In style it
9279
resembles the best work known to have been produced at the
9280
Soho factory near Birmingham in the early 1770s. This factory,
9281
cstablishcd in 1762 by Matthew Boulton in partnership with
9282
John Fothergill, made many varieties of hardware but began
9283
in 1768 to specialize in ormolu. In that same year Boulton
9284
began looking for attractive vase bodies. He toyed with the
9285
idea of porcelain oncs, but in 1768 he was actively acquiring
9286
blue-john and in the following spring he acquired 14 tons of
9287
it. The stone was at first worked at Soho but was later supplied
9288
in the form required by local Derbyshire craftsmen (N.
9289
Goodison. Ormoltt: The Work Of Matthew? Bot4lton (-hondon,
9290
1974), 25, 27, 29-30, 75nd). An idea of the factory's goods
9291
in `radix amethysti' (as the stone was pretentiously marketed)
9292
and `or moulu' during the first years of production may be
9293
obtained from the large sale held 11-13 April 1771 at
9294
Christic's. It is clear from another large sale held at Christie's
9295
in May 1778 that the basic range of products had not changed
9296
(ibid., Appendix IV, pp. 242nd8). Production diminished
9297
thereafter and ceased in the 1780s. Most of their vases were
9298
`candle vases', that is fitted with branches for candles, or were
9299
`essencc pots' (perfume burners) or `sugar dishcs'. No vase
9300
made by them has exactly the form of handle or finial or shape
9301
of plinth found in the Ashmolean's exanplc. The fact that
9302
the material is English suggests that the vase was made in
9303
England by one of Boulton's rivals or successors. It is not
9304
impossible that it was made in France, but it should be pointed
9305
out that there is no evidence to support the claim that the
9306
French were the first to exploit bluciohn extensively for high-quality
9307
omanental work and very httle evidence that they used
9308
the material at all. Had they been employing it in the 1760s
9309
Boulton would surely have mentioned the fact. The only
9310
reference known to me to what must be blue-john in a French
9311
collection is the `coupe avcc son pied de spath fluor
9312
d'Angleterre, rubann€e blanc, rouge et violet; unc autrc idem,
9313
forme de gobclct a pied, avec une arse et bordurc cn or, la
9314
cuillere de memc, un petit seau aussi dc spath fluor violet ct
9315
blanc avec son ansc et cuillere cn argcnt' recorded in the
9316
collection of Queen Marie-Antoinettc in 1789 (A. Tuetey,
9317
`Invcntairc des laques anciennes ct des objets de curiosit€ de
9318
Ma]ie-An:toin€tte' , Nowelles Archives de l'art fhan§ais
9319
( 1916), 286-319). But Maric-Antoinette was an avid
9320
collector of rarities and these might have been sent from
9321
England. The claim is made by Francis Watson in his
9322
catalogue of the furniture in the Wanacc Collection of 1956
9323
that a pair of vases and a ewer (F345, 346, 347), and a pair
9324
of candelabra (F158 and 159) are examples of blue-john
9325
mounted in eighteenth-century France. The candelabra are
9326
not of blue-john (and may also be English and indeed
9327
ninetccnth century). The ewer (F345) is a pastiche,
9328
combining in an unconvincing manner an carly eighteenth-century
9329
shape with late eighteenth-century French ornaments
9330
in a manner typical of the ninctcenth-century English makers
9331
and docs not really belong with the vases. The vases (F346
9332
and 347) have extensively restored bodies, including portions
9333
of painted plaster, and the mounts may well bc additions or
9334
restorations of the same period-in any case there is no proof
9335
that they arc French. More significant is a blue-john urn
9336
band-clock with a French movcmcnt in the Fitzwilliam
9337
Museum, Cambridge ( 10-1948).>+\, ij'firiffriELi:`fy
9338
@@PROCESS
205
9340

                
9341
BRITISH SCULPTURES, BY ARTISTS NAME
9342
@@PROCESS
9343
609. Urn with handles a la grecque
9344
32.5 cms. (height); 20.5 cms. (width, across handles); 10.8 cms.
9345
(length and width of plinth)
The urn is composed of two pieces of Derbyshire fluorspar (blue-john)-
9347
the body and the lid with its concave neck-ach of which,
9348
to judge by the weight, is solid. They are securely fixed, the join
9349
reinforced by the handles which are, together with the base and finial,
9350
of bronze, fire-gilded. The plinth of the base is separately worked.
9351
A large F and `N 4/ 0 / i 3 pieces' is written in ink on a piece of
9352
wood jammed inside the phnth.
9353
Bequeathed by Major T. Bouch, 1963. Received by the Museum
9354
on 20 November 1963. For more on the bequest see Nos. 451,
9355
@@PROCESS
9356
452, 469, 608. Lent to the City Art Museum, Derby, on 27 May
9357
1981.
9358
The workmanship and design of this urn are of very high
9359
quality. In style it is comparable with the work known to
9360
@@PROCESS
9361
206
9362
have been produced at Boulton's Soho factory in the early
9363
1770s (for which scc No. 608). The relatively large size of
9364
the handles, slender foot, and sharp water-leaf ornament of
9365
the foot is reminiscent of some of the designs favoured by
9366
Boulton and the angular style of handle is found on a type of
9367
branched candle vase made at Soho. The details, however,
9368
cannot be exactly matched in any documented work by
9369
Boulton's factory. It was probably, like No. 608, made by a
9370
rival English firm. It is not impossible that the urn was made
9371
in France: certainly the blue-john urn band-clock with a
9372
French movement in the Fitzwilliam Museum, Cambridge
9373
( 10-1948 ) has very similar handles.
9374
The fluorspar employed for this urn is of a very unusual
9375
character: consistent alike in colour and texture, resembling
9376
a yellow melon, but with one band (about 6 cms. in width)
9377
of deep mauve passing down one side of the body. The band
9378
is also featured on the lid, where it is not quite aligned, which
9379
shows that this was cut from the same lump of fluorspar.
9380
BRITISH SCULPTURES, BY ARTISTS NAME
9381
@@PROCESS
9382
610 and 611. A pair of vase
9383
candlesticks on tripod supports
9384
(only one traced)
9385
19.3 cms. (height); 10.1 cms. (diameter of plinth)
9386
Each leg of the tripod is cast in bronze with a dark brown patina.
9387
The `egg' supported and the plinth and part of the lid are of white
9388
Carrara marble. The egg is partially hollowed. The other elements
9389
are all of fire-allt bronze or copper, some of it machined. The
9390
marble part of the lid has been shattered but only chips are missing.
9391
The cover reverses to form a nozzle. `B.-39.e' is painted in black
9392
around the rim of the marble `egg' concealed by the lid. `FORTNUM
9393
8' is faintly scratched on the upper surface of the plinth.
9394
Bequeathed by Charles Drury Fortnum in 1899 as a pair (mos. 8.
9395
1038 and 1039 in his large manuscript catalogue). Noted by him
9396
as a gift from Mrs F. W. Hope. The loss of the companion candlestick
9397
(611 ) was not recorded before work commenced on this catalogue
9398
(in 1986).
9399
Fortnum owned a similar pair of candlesticks (nos. 1040 and
9400
1041 in his large manuscript catalogue) which were not
9401
included in his bequest. An exceptional miniature pair of
9402
ceramic candlesticks of similar character were included in the
9403
bequest to the Ashmolcan Museum of J. Francis Mallett
9404
(Nos. 266, 267).
9405
The type and size of candlestick arc not uncommon, but
9406
there are numerous variations. The `cggs' can be of dark
9407
patinated bronze with ormolu leaves (Christie's, I.ondon, 6
9408
November 1986, lot 63, or Christie's, New York, 25 October
9409
1986, lot 30). The central support below the `egg' can have
9410
a snake twisted around it (Christie's, Orchardleich Park,
9411
Somerset, 21-2 September 1987, lot 406). The chains here
9412
suspended from the goats' heads in the frieze on top of the
9413
`egg' sometimes take the form of beads-and hang either
9414
from simple studs or from the goats' heads on top of the legs
9415
or from both. Also, the mouldings are often varied as are the
9416
areas of patinated or art bronze. In some models on the
9417
continent (for instance the pair in the Six Huis iinsterdam)
9418
the cap is topped with Slt bronze roses forming nozzles.
9419
The popularity of this type of candlestick in England is
9420
sufficient to justify the assumption that they were made
9421
here-an assumption found in auction catalogues where they
9422
are generally described as `Gcorge 111'. They may well have
9423
been imitated later in the nineteenth century. They reflect a
9424
fashion for slender tripods, miniature animal heads, spiral
9425
snakes, dchicate branches, and pendant chains and beads
9426
created by the leading French bronziers such as Gouthiere
9427
and Pierre-Phhippe Thomire in the 1780s and associated with
9428
`le gout etrusque'. These fragle open forms of the metalwork
9429
and the minimal support they provided were often dramatized
9430
by a cup or `cgg' of marble or of a semi-precious stone (or
9431
of a ceramic imitation of one or the other). Splendid and
9432
elaborate exanplcs, which may be considered as distant royal
9433
relatives of the Ashmolcan's candlesticks, arc the tripod
9434
candelabra with a lapis `egg' in the Wallace Collection (F
9435
@@PROCESS
9436
132 ) or the vase with tripod stand in the J. Paul Getty Museum
9437
(70.DE. I 15), both illustrated, with related pieces, in H.
9438
Ottomeycr and P. Pr6schel (eds. ), Vc#g7o/defg Bro"2;c„, 2 vols.
9439
(Munich, 1986), i. 264 and 268.
EEEE-
2/fJr/
9442
BRITISH SCULPTURES, UNNAMED ARTISTS
9443
@@PROCESS
9444
612 and 613. Pair of hall tables with
9445
lotus leaf supports (only one
9446
illustrated)
9447
82.5 cms. (height); 112 cms. (length); 75 cms. (width)
9448
The supporting members are of solid carved walnut. The plinths are
9449
of richly figured rosewood veneered on to a carcass of pine. The
9450
upper surface of the plinth is veneered with two figured pieces in a
9451
symmetrical book-matched pattern. The edges of the table tops are
9452
of wood, probably pine, gilded and carry applied composition
9453
omanents, also gilt. The edging of the slabs of porphyry is of
9454
ormolu.
9455
Bought at the Stowe sale, 1920. The tables stood in the state drawing
9456
room at Stowe,
9457
The tables are likely to date from about 181040 when both
9458
composition ornament and rosewood veneer were particularly
9459
popular and the severe sculptural ideals represented by
9460
furniture such as that of Thomas Hope (see Nos. 522-3)
9461
were replaced with a gross opulence, well represented by the
9462
heavy outline of the curves of these supports, the fat rolls of
9463
@@PROCESS
9464
208
9465
the framing mouldings, and the overlapping fleshy lotus leaves
9466
within them. The `marblc' slabs have been described as
9467
imperial porphyry, but if so are of an oddly irregular grain
9468
and brown colour: they are in fact more hkcly to be one of
9469
the native British stones promoted by George Bullock of
9470
Liverpool, sculptor, cabinet maker, and entrepreneur ( see
9471
Nos. 453, 454), who exploited the Mona Marble quarries on
9472
Anglesey which supplied types of stone said to emulate
9473
oriental (that is ancient Egyptian `imperial') porphyry and
9474
77crde ¢7¢£¢.co. Bullock moved to Ijondon in 1813 where the
9475
Mona Marble works opened its showrooms in 1814 but wen
9476
bcforc this date he had been supplying wood and ormolu
9477
furniture, marble chimney-pieces, and artificial stone lamps to
9478
customers all over Britain. His Anglesey marble is first
9479
mentioned in 1806 (C. Wainwright (ed. ), GcoffgG B#//ocfe,
9480
C¢4¢.#cf 44l¢4Gy (I.ondon, 1988), 21-2). Whilst it is possible
9481
that these tables were made in his workshops there are no
9482
precise analodes with any furniture documcnted as designed
9483
by him. The tables were fitted with brass-framed glass cases
9484
made by the firm of Frederick Sage and Company under the
9485
Kccpership of C. F. Bell and have retained these ever since.
9486
They have, it seems, always been used to display bronzes
9487
from the Fortnum Collection.
9488
BRITISH SCULPTURES, UNNAMED ARTISTS
9489
@@PROCESS
9490
614. Portrait bust of Sir Walter
9491
Scott
9492
6.45 cms. (height of bust); 12.4 cms. (diameter of board)
9493
Bronze with a dark brown patina. Hollow, sand-cast. The cavity
9494
under the bust has been filled with another metal and filed. The
9495
bust is mounted on a circular board of pine as if in high relief, but
9496
the back of the head has in fact been let into the board. `Sir W. Scott'
9497
is painted crudely in black on the reverse of the board.
9498
The bronze is kept in the Heberden Coin Room as part of the
9499
collection of medals purchased in 1953 from Colonel Michael H.
9500
Grant (whose catalogue lists portraits of scott on p.156).
9501
The bust appears to be a companion with Nos. 615 and 616.
9502
@@PROCESS
9503
615. Portrait bust of King George
9504
Ill
9505
6.8 cms. (height of bust); 12.4 cms. (diameter of board)
9506
Bronze with a dark brown patina with traces of Slding. Hollow,
9507
sand-cast. The cavity under the bust has been filled with another
9508
metal and filed. The bust is mounted on a circular board of pine as
9509
if in high relief, but the back of the head has in fact been let into the
9510
board. `Geo 111' is painted crudely in black on the reverse of the
9511
board.
9512
The bronze is kept in the Hebcrden Coin Room as part of the
9513
collection of medals purchased in 1953 from Colonel Michael H.
9514
Grant (whose catalogue lists several anonymous portraits of the king,
9515
p.180).
9516
The bust appears to bc a companion with Nos. 614 and 616.
9517
@@PROCESS
209
9519

                
9520
BRITISH SCULPTURES, UNNAMED ARTISTS
9521
@@PROCESS
9522
616. Portrait bust of King George
9523
IV
9524
7.8 cms. (height of bust); 12.4 cms. (diameter of board)
9525
Bronze with a rusty brown patina and traces of black varnish.
9526
Hollow, sand-cast. The cavity under the bust has been filled with
9527
another metal and filed. The bust is mounted on a circular board of
9528
pine as if in high relief, but the back of the head has in fact been let
9529
into the board. `Geo IV' is painted crudely in black on the reverse
9530
of the board.
9531
The bronze is kept in the Heberden Coin Room as part of the
9532
collection of medals purchased in 1953 from Colonel Michael H.
9533
Grant (whose catalogue lists 14 anonymous portraits of the king,
9534
p.181).
9535
The bust appears to be a companion with Nos. 614 and 615.
9536
@@PROCESS
9537
210
9538
@@PROCESS
9539
617. Portrait head in relief of
9540
Althur Weuesley, lst duke of
9541
Wellington
9542
15.5 cms. (height of head); 22.8 cms. (diameter of backplate)
9543
Bronze with a black vanish worn in some salient parts to brown.
9544
Heavy sand-cast, open behind. Mounted on a circular plate of steel.
9545
There is a hole in the top of the back approximately 0.6 cms. square.
9546
The opening under the cutting of the bust has been filled with copper
9547
or a very coppery alloy.
9548
The bronze is kept in the Hebcrden Coin Room as part of the
9549
collection of medals purchased in 1953 from Colonel Michael H.
9550
Grant.
9551
The high rclicf appears to have been created by sawing off the
9552
back of a thrcc-dimensional head, as also is the case with
9553
Nos. 475 and 618.
9554
BRITISH SCULPTURES, UNNAMED ARTISTS
9555
@@PROCESS
9556
618. Portrait head in relief of
9557
William Ewart Gladstone
9558
12.2 cms. (height of head); 20 cms. (diameter of board)
9559
Bronze with a black patina, worn to a pale brown in the nose. Heavy
9560
sand-cast, open behind. Mounted on a circular board of pine. A
9561
bolt has perforated the wall of the bronze behind the whiskers to
9562
proper right. The underside of the neck has been filled and coated
9563
with a black substance.
9564
The bronze is kept in the Heberden Coin Room as part of the
9565
collection of medals purchased in 1953 from Colonel Michael H.
9566
Grant.
9567
The head is mounted in the same manner as the bust of
9568
Ruskin by Drcsslcr (No. 475). As in that case and No. 617
9569
the high relief appears to have been created by sawing off the
9570
back of a three-dimensional head.
9571
@@PROCESS
9572
619. Bust portrait of Captain T.
9573
Heard
9574
22.8 cms. (height); 18.9 cms. (width at shoulders); 30.4 cms.
9575
(length of base); 14.8 cms. (width)
9576
Opaque white alabaster, mounted on a base of wood painted black
9577
with gold lines. `Capt. Thos. Heard / R.N. H.M.S. /ACTlvE' and
9578
`Byron's / 1834 / "Maid of Athens" ' is scratched in amateur letters,
9579
blackened for emphasis, on the underside of the block resting on the
9580
base. `oLD BASE FOR/ BUST oF CAPT. T. HEARD / Byron's / "Maid of
9581
Athens" ' is scratched on the underside of the base with a space
9582
between the first and second pair of lines. Also some lines in pencil,
9583
for which see below.
9584
Provenance unrecorded ( but see below).
9585
The Byron of the inscription may not be the poet, despite the
9586
poet's connection with Athens. Captain Heard was evidently
9587
serving on HMS Acf¢.pc. It may be that the portrait was made
9588
on the `Maid of Athens'. It is not a distinguished work of
9589
art. There are two pencil inscriptions on the undcrsidc of the
9590
base. One certainly reads `Georgc Richmond', the other in
9591
larger letters seems to read `G . . . yu . . / Br .... &C / 11
9592
cms high / of Black' .
9593
@@PROCESS
211
9595

                
9596
BRITISH SCULPTURES, UNNAMED ARTISTS
9597
@@PROCESS
9598
620. Bust portrait of an unknown
9599
man in classical attire
9600
62.8 cms. (height including socle); 11.8 cms. (height of socle);
9601
18.2 cms. (diameter of socle)
9602
Plaster of Paris varnished a rich golden brown. Thick-walled, hollow
9603
cast. There are vestiges of scans on the top of the head. There are
9604
minor chips to the drapery and the end of the nose. Initials or a
9605
short name probably followed by `Fecit' were scratched on the top
9606
of the socle at the back but cannot now bc traced.
9607
Provenance unknown.
9608
The bust looks like a work of the 1830s or 1840s.
9609
APPENDIX I
9610
Plaster Casts From the Studio of
9611
Sir Francis Chantrey
9612
The Chantrey Casts: Technique and Conservation
9613
Chantrey modelled his sculpture in clay. Once completed each
9614
work was encased with a piece-mould from which a plaster cast
9615
could be taken. The true origival-the clay-was then broken
9616
up. The only works in clay by Chantrey which seem to have
9617
survived are small sketch models of which one, for his portrait
9618
statue of Mrs Jordan, is in the Ashmolean Museum (No. 456).
9619
The plaster casts usually served as the models from which the
9620
marbles were carved, although it is conceivable that the clay
9621
origivals were sometimes preserved long enough to serve this
9622
purpose. Most of the carving was done by assistants, but Chan-trey
9623
not only finished his busts hinself but sometimes did so
9624
from the life, requesting a last sitting for this purpose (not the
9625
nomal practice with his rivals). The differences betwccn plaster
9626
and marble sculptures-apart of course from polish and
9627
colountirc not remarkable. Not infrequently the plaster ver-sions
9628
reproduced vigorous clawed tooling, in drapery and to a
9629
lesser extent flesh. Such textures arc reduced to the finer marks
9630
of the rasp in the marble. In some cases there is a completely
9631
different treatment of the iris or pupil . The most obvious differe-nce,
9632
however is in the treatment of the hair, where the handling
9633
of the clay was most free and least easily imitated in marble. The
9634
plaster of wordsworth (No. 784), for instance, reproduces the
9635
worms of clay which were dropped on to the forehead, and in
9636
other cases, such as the portrait of Lady I.ouisa Russell (No.
9637
@@PROCESS
9638
657), the poking and pushing of the wet clay is very visible. An
9639
equivalent but very different freedom of handling was sometimes
9640
achieved in the marble hair by use of the drill.
9641
Chantrey's handling of the top ofthc clay head was sometimes
9642
wild, even careless, it being a part of a portrait very unlikely to
9643
bc inspected closely: the cast of the bust of William Howley,
9644
archbishop of Canterbury, is a good example of the freedom he
9645
could permit himself (No. 721 ). In this case the points are also
9646
clearly visible. Cleaning has revealed these on almost all the
9647
plasters. They are always most apparent on the hair and are of
9648
two types- single point and a circled one-made with a pencil
9649
sharp enough to penetrate the surface of the plaster.
9650
Piece-moulds lcavc seams in the plaster casts but these were
9651
carefully cleaned off and their traces arc not easy to find except
9652
on the crown of the head. The reason for this is that when the
9653
piece-mould has bccn assembled for the plaster of Paris to be
9654
poured into it one small piece of the mould-a sort of plug-is
9655
left out so that the /o»7¢¢fo„G can reach inside the mould and
9656
ensure that the plaster has flowed right down. When he has
9657
done this he will rcplacc the plug, but thcrc arc bound to bc
9658
larger seams and more untidiness at this point which it would
9659
be tedious to conceal.
9660
The socles of the busts, when there was one, were all cast
9661
separately. They are of standard size and type and probably
9662
existed ready made in the sculptor's workshop in large batches.
9663
The join was made when the plaster had just been poured into
9664
the mould and it was reinforced with a large peg of deal-in
9665
one or two cases only does iron seem to have bccn employed
9666
for this purpose.
9667
It seems always to be the case that the head of each male
9668
portrait statue was scparatcly cast and then fitted, by the same
9669
method, to the body. When the statues were sawn up an attempt
9670
was made to convert them into busts, but often the heads must
9671
have fallen off and in many cases they were loosened. In the
9672
case of the statue of George Ill, for instance (No. 638), a
9673
smooth rim easily distinguishable from a sawn edge is visible.
9674
The female effides do not generally have separately cast heads
9675
but then they were often not really protraits at all. It was
9676
above all when the statue was a portrait that Chantrey found it
9677
convenient to work on the head separately and when he did so
9678
it was also cast separately. This must have been a common
9679
practice, but Chantrey's sculpture ccltainly suffers from it: in
9680
very few of his statues docs the body possess a very distinctive,
9681
individual, character-and in none is the body active.
9682
Most of the detached heads seem to be solid-as was the
9683
case for instance with the sleeping child (No. 655)-nd it is
9684
remarkable that this is also the case with a great many of the
9685
bodies, as can be clearly seen from the cuts through the chest
9686
(e.g. No. 670). Sometimes there is a hollow interior, although
9687
the walls are immensely thick. Such a hollow is visible, for
9688
instance, when the surviving pordon of the statue of Mrs Jordan
9689
is lifted up (No. 649). In this case it is clear that the plaster was
9690
handled in the hollow. It is likely that, in a case like this, the
9691
figure was cast in two parts. When the top part of the figure
9692
was being poured-head downwards-the /o7'7i¢¢forG would
9693
have reached in and pushed the plaster down into the head and
9694
then kept a sort of tunnel which enabled him to push it sideways.
9695
The immense weight of these casts does not sccm to have
9696
been regarded as a disadvantage. It obviously made them more
9697
stable, and more easily repaired, and it must have been necessary
9698
for the effective securing of scparatcly cast units. The surviving
9699
casts of wcstmacott's works show the same tcchniquc. It may
9700
not have been possible to make tight-sheucd plaster casts at this
9701
date, at least on a large scale. In my experience plaster casts after
9702
the antique made in 1780 or 1820 are far heavier than those
9703
made in about l880-sometimes as much as ten times heavier.
9704
From the studio sales of cightecnth-century portrait sculptors
9705
it is clear that they must have made numerous plaster casts of
9706
@@PROCESS
213
9708

                
9709
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
9710
their busts-this was especially the case with busts of historical
9711
celebrities such as Milton, Shakespeare, Inigo Jones, and
9712
Newton. There is no technical reason why Chantrey should not
9713
have done this. In some cases a patron may have requcstcd casts
9714
for presentation to friends (this is documcnted in the sculptor's
9715
ledger in the case of Thomas Johncs of Hafod) but in the case
9716
of a famous sitter this practice made it casicr for marble copies
9717
to be made by his rivals and Chantrey, who was much irritated
9718
by piracy, may have been wary of this.
9719
All the same if a sculptor issued an edition of plaster casts
9720
properly inscribed with name and date he enjoyed legal pro-tection
9721
and could make a good profit without ever having to
9722
carve a marble version-r at least before hc did so. There is
9723
evidence that Chantrey did precisely this carly in his career: the
9724
plaster bust of Sir Francis Burdett (no. 685) reproduced an
9725
inscription neatly incised in the model as follows `modeucd
9726
by/F. L. Chantrey/published Scpt. 1 1810.' This reveals that
9727
the bust was made with publication of a plaster edition in mind.
9728
The same is true of the bust of John Home Tookc (No. 773)
which is inscribed `modclled by F. L. Chan-trey/
9730
published/December I/1810.' These busts were both
9731
exhibited at the Royal Academy in 1811, presumably as plasters,
9732
and the marble versions were only made much later. Burdett
9733
was in prison in 1810 for his pohitical beliefs. Tookc was a close
9734
ally. Chantrey surely made these works for the supporters of
9735
these two radical heroes-to whom indeed he was at that date
9736
himself sympathetic. Thercaftcr, however, it seems that Chantrey
9737
did not issue editions of plaster casts.
9738
On 7 May 1845, not long after the casts had been installed
9739
in the University Galleries, I.ady Chantrey wrote to the Curators
9740
(A4l¢."#fGf, Ashmolean Library, AMS. 41. pp. 8-9) urgivg them
9741
not to permit aftcrcasts of the plasters to be made. Her husband's
9742
own moulds had, she claimed, been destroyed. A few exceptions,
9743
however, were made. I.ater in the same year, and surely with
9744
her permission, Gcorgc Jones wrote requesting that an aftcrcast
be made of the bust of Sir Francis Burdett for Miss Burdett-
9746
Coutts (ibid. 11). An aftercast of a bust of `Dr Dutton' (pre-sumably
9747
Dalton) was permitted in 1866 (ibid. 38), and one of
9748
the entire statue of Roscoe was made at the request of the mayor
9749
of hiverpool after the marble, in St Georgc's Hall, was broken
9750
in 1893.
9751
As was mentioned in the second introductory essay to this
9752
volume Chantrey's plasters were described on their arrival in
9753
Oxford as `ganbogc' coloured. They must have been coated
9754
with shellac when in his studio. This would have protected the
9755
surface, making it harder and also easier to clean, but the sheuac
9756
would have darkened from a pale gold to a dark yellow and, in
9757
some cases, to a ruddy brown. The same witness recorded that
9758
the casts when displayed had changed colour. They must have
9759
bccn painted on arrival with the thin coat of a stone colour
9760
which all of the unrcstored examples retain. This paint contained
9761
shellac and was brittle and has in most cases flaked off in parts.
9762
It also bacane dirty - very dirty from the bascmcnt stores. The
9763
first and simplest, but certainly the least satisfactory, remedy was
9764
to coat the dirty sculpture with whitewash. This was done to
9765
the six items loaned in March 1951 to the Chantrey exhibition
9766
at the Graves Art Gallery in Sheffield-the busts of Nollekens,
9767
J. R Smith, Home Tooke, Wilham IV, George IV, and the
9768
@@PROCESS
9769
214
9770
colossal Wellington (Nos. 742, 759, 773, 781, 709, 778). Apart
9771
from the fact that the freshness of the modelling was obscured
9772
by the inevitable thickness of the coating, the whitewash itself
9773
rapidly became grubby.
9774
During the 1970s a campaign of cleaning was commenced
9775
by Mohammed Saleh of the Cast Gallery. Mr Salch laboriously
9776
scraped off not only the stone-coloured paint but the original
9777
layer of darkened shellac. This last however had penctratcd the
9778
plaster, discolouring it to an uneven degrcc, and damp moulds
9779
had also contributed to stain the surface, so when the outer skin
9780
of the origival layer of shellac was removed the plaster often
9781
appeared a disagreeable, blotchy colour. It was also not always
9782
obvious where to stop scraping (No. 685). In 1986 the Pilgrim
9783
Trust gave a grant towards the cost of a larger campaign of
9784
cleaning which was carried out by Rachcl Kenward under the
9785
supervision of David Armitage of the Department of Eastern
9786
Art. The policy now was to leave the origival shellac skin-r
9787
to repair it when it had come off--which involved less risk to
9788
the origival surface and, whilst often keeping the plasters darker
9789
than they were originally, avoided the appearance of diseased
9790
skin. It is hoped that some of the more notable succcsscs of this
9791
campaign-the busts of Porson and Englefield, Ijord Farnbor-ough
9792
and Sir John Soane, and Queen Victoria among them-will
9793
be placed on display in the galleries.
9794
Another policy was adopted in the treatment of a set of busts
9795
which were sent out on loan to the National Trust at Belton
9796
House in Iincolnshire. At a suggestion of Alastair I.aing a virtue
9797
was made of the filthy condition of the stone-coloured paint.
9798
This surface was first patched with shellac where it had flakcd
9799
and then touched-in with easily removable paint. The colour on
9800
each was toned, with the same paint, to a more or less uniform
9801
brown to achieve an effect not unlike a `bronze finish'. This
9802
work was undertaken by Kathleen Kimber of the Department
9803
of Antiquities assisted by Catherine Gormley, a volunteer.
9804
Much work remains to be done on the Chantrey plasters and
9805
although an have been photographed for this catalogue many
9806
of these photographs document the damage to them and also
9807
the markings on them which so eloquently reveal the changivg
9808
attitude towards them-the neat black writing on the socles
9809
which identified them for the visitor in the 1850s and 1860s;
9810
the numbered labels stuck on them when they were consigned
9811
to bascmcnt storage-printed paper labels like those put on `left
9812
luggage' or goods consigned to auction; the chalkcd numbers
9813
scrawled on them in this centurylrude like the markings on
9814
trees singled out for felling; and lastly the neat card labels on
9815
ribbon made in the l980s which reveal a concern for the welfare
9816
of the sculpture and a respect for its value.
9817
The following works are abbreviated in the catalogue entries:
9818
The Manuscript ledger of Sir Francis Chantrey in the I.ibrary of the
9819
Royal Academy of Arts.
9820
JosephF.ishel,Et;chedRemini§encesOftheModelsdySirFrancisChmutrey
9821
in the University Galleries (Oxf;old, \85\).
9822
TL lame Poole, Catalogue Of Portraits in the Possession Of the University,
9823
3 vols. (Oxford,1912-15).
9824
AL. Ports, Sir Francis Chantrey 1781-1841, Sculptor Of the Great,
9825
Catalogue of exhibition at the National Portrait Gallery, I.ondon,
9826
and the Mappin Art Gallery, Sheffield, 1981.
9827
R. Gumis, Dictionary Of British Sculptors 1660-1851 (hondor\, +95\).
9828
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
9829
PART I
9830
Full-length statues, monumental effiges, and reliefs
9831
( mostly fragmentary)
9832
@@PROCESS
9833
621. Dr James ANDERSON
9834
(d. 1809)
9835
23.7 cms. (height)
9836
Head broken at the neck. From a seated whole-length
9837
figure. Cleaned (to the plaster) by
9838
Mohammed Salch. Vcstigcs of shellac remain.
9839
Points visible. Parallel scratches on crown of head.
9840
Small hole in the back of the head. Probably a
9841
scparatcly cast unit.
9842
Chantrey tlft, no. 5; Efc4ed Rc7"G."j.fcG"cGf, no. 41;
9843
Lane Poole, no. 517.
9844
Marble erected in Madras, according to
9845
Gunnis. Commissioned 1815, paid for 1819
9846
(RA Ledger, p. 42), exhibited Royal Academy
9847
1819 (no.1181) as posthumous and to be
erected in Madras. Andcrson was Physician-
9849
General of the East India Company at
9850
Madras, also a botanist and agriculturalist.
9851
@@PROCESS
9852
622. Stephen BABINGTON
9853
(d. 1822)
9854
45.4 cms. (height); 43.4 cms. (width across
9855
shoulders)
9856
Head and shoulders, sawn across chest and raised
9857
hand. Chipped on the sawn edge. From a seated
9858
whole-length figure. Uncleaned. Flaking on neck
9859
and side of face. An unusually red shellac.
9860
Chantrey Sft, no. 7S Etched Reminiscences. no. 37.,
9861
I.anc Poolc, no. 519.
9862
Marble erected in Bombay, according to
9863
Gunnis. Commissioned 1824, paid for 1828
9864
(RA Ledger, p. 168), exhibited Royal
9865
Academy 1827 (no.1123). Babington was a
9866
judge in the Bombay Civil Service.
9867
@@PROCESS
9868
623. Sir Joseph BANKS Bt.
9869
(1743-1820)
9870
31.6 cms. (height); 43 cms. (width across
9871
shoulders)
9872
Head and shoulders sawn across upper chest. From
9873
a seated whole-length figure. Large chips missing
9874
fi.om the sawn edge at proper right shoulder and
9875
to proper left of collar. Uncleancd. Slight flaking,
9876
especially on the face.
9877
Chantrey Sft, no. 9: Efc4cd RcowS.„!.JCG"ccf, no. 14;
9878
Lane Poolc, no. 521.
9879
Marble in the Natural History Museum
9880
(transferred from the British Museum).
9881
Commissioned for the British Museum 1821,
9882
completed 1827, paid for 1833 (RA Ledger,
9883
P. 147). Banks was a traveller and botanist,
9884
promoter of the natural sciences, President
9885
of the Royal Society, and Trustcc of the
9886
British Museum.
9887
@@PROCESS
9888
624. Shute BARRINGTON, bishop
9889
of Durham ( 1734-1826)
9890
44.6 cms. (height); 35.8 cms. (width)
9891
Head and shoulders sawn across upper chest just
9892
below bands. From a kneeling whole-length figure.
9893
The proper left shoulder has been broken off. Minor
9894
chips arc missing along the sawn edge. Uncleaned.
9895
Some flaking, especially to the face.
9896
Chantrey 5ft, no. I I; Efc¢Gd Rccoz."¢.fcc"cGf, no. 4;
9897
Imc Poole, no. 523.
9898
Marble, dated 1830, serves as his monument
9899
in Durham Cathedral. Barrington was bishop
9900
of IJandaff, Salisbury, and Durham in
9901
succession.
9902
@@PROCESS
9903
625. Heny BATHURST, bishop of
9904
Norwich ( 1744-1837)
9905
40 cms. (height); 53.2 cms. (width)
9906
Head and shoulders. Sawn across upper chest. From
9907
a scatcd whole-length figure. A large chip is missing
9908
from the sawn edge at his left shoulder and right
9909
collar. The head is loose and was probably a
9910
scpa.rately cast unit. Uncleaned. Some fla.king to
9911
wig and robes.
9912
Char\:tray bR, no. L3; Etched Reminiscences, no.
9913
22; I.one Poolc, no. 525.
9914
Marble serves as his monument in Norwich
9915
Cathedral ( N. Penny, C4#rc4 44o„#owc"£f ¢.„
9916
Roov¢»£z.c E"g/¢#¢ (New Haven, Conn., and
9917
I.ondon, 1977), 75, pl. 54). Exhibited at the
9918
Royal Academy 1841 (no. 1218)
9919
posthumously as the sculptor's last work.
9920
Bathurst was bishop of Norwich 1805-37
9921
and a VAg.
9922
@@PROCESS
9923
626. Mary Anne, Mrs Matthew
9924
Robinson BOULTON
9925
(1795-1829)
9926
30.I cms. (height)
9927
Head and neck. Sawn across lower neck. From a
9928
reclining wh.olc-length figure. Part of the half has
9929
bccn broken fi.om the proper left side and the back
9930
of the head. Uncleancd. Extcnsivc flaking in hair
9931
and neck.
9932
Chantrcy dft, no. 16; Efcifed RGowG.~G.fcc„ccf, no.
9933
16; Ime Poolc, no. 528.
9934
Marble, dated 1834, serves as her monument
9935
@@PROCESS
215
9937

                
9938
AI'PENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
9939
in the parish church at Great Tew,
9940
Oxfordshire (N. Penny, C4#"A 44lo„#owc„fJ
9941
in Romantic England (ENc:w Haven. Cor\n..
9942
and Ijondon, 1977), 87, pl. 64).
9943
Commissioncd 1830, completed 1834, paid
9944
for 1836 (RA Ledger, p. 228). Mrs Boulton
9945
was the daughter-in-law of Matthew Boulton
9946
the entrepreneur.
9947
@@PROCESS
9948
627. Mary Ann, Lady BRADFORD
9949
(d. 1830)
9950
46.2 cms. (height)
9951
Head and part of the chest, hands, and pillow. Sawn
9952
horizontally from a rcclinng whole-length figure.
9953
Much chipping at sawn edge. End of thumb of her
9954
right hand broken off and missing. Uncleaned.
9955
Extensive flaking.
9956
Chantrey Bft, no. 17; Efc4G¢ RcacG.#®.fce"ccf, no.
9957
40; I,are Poole, no. 529.
9958
Marble, dated 1834, serves as a monument
9959
in Har[bum Church, Northumberland.
9960
Commissioned 1831, completed 1834 (RA
9961
Ledger, p. 239). I.ady Bradford, wife of
9962
hieut-General Sir Thomas Bradford KCB,
9963
died at sea.
9964
@@PROCESS
9965
628. George CANNING
9966
(1770-1827)
9967
41.4 cms. (height); 51 cms. (width at shoulders)
9968
Head and shoulders. Sawn just below shoulders.
9969
From a whole,Length standing figure. I.argc chips
9970
missing from draperies along the sawn edge.
9971
Uncleaned. Extensive flaking.
9972
Chantrcy dft, no. 22; Efchcd RGow;„;Jce»cef, no.
9973
15; I.one Poolc, no. 534.
9974
Marble in St Georgc's Ham, I.iverpool.
9975
Commissioned 1829, completed 1832 (RA
9976
Ledger, p. 214), exhibited Royal Academy
9977
1832 (no.1171, specified as of marble).
9978
Canning was a leading Tory statesman and
9979
orator. See also No. 629.
9980
@@PROCESS
9981
629. George CANNING
9982
(1770-1827)
9983
31.2 cms. (height)
9984
Head broken off at the neck about two inches
9985
below the chin. From a whole-length standing
9986
figure. Unclcaned. Extensive flaking. The head was
9987
clearly a separately cast unit.
9988
Chantrey Sft, no. 23; lane Poole, no. 535.
9989
Marble in Wesrminstcr Abbey.
9990
Commissioned 1829, completed 1834 (RA
9991
I.edger, p. 213) Canning was a leading Tory
9992
statesman and orator. See also No. 628. Lane
9993
Poole erroncously connects this with the
9994
bronze statue in New Palace Yard,
9995
Westminster, which is the work of sir Richard
9996
Westmacott.
9997
@@PROCESS
9998
216
9999
@@PROCESS
10000
630. Thomas COUTTS
10001
(1735-1822)
10002
37.3 cms, (height); 44.6 cms. (width)
10003
Head and shoulders. Sa`m just below shoulders.
10004
From a whole-length seated figure. Chips missing
10005
along the sawn cdgc, a large one fi.om his right
10006
collar. A small loss to the point of the nose.
10007
Uncleaned.
10008
Chantrey Sft, no. 30; Efc4cd Rcacg.#G.fce"ccf, no.
10009
53; Lenc Poolc, no. 542.
10010
Marble in Coutts' Bank, The Strand, I.ondon.
10011
Commissioned 1824, completed 1827, paid
10012
for 1828 (RA Ledger, p. 167). Coutts was
10013
the co-founder, with his brother, of the bank
10014
Coutts and Co.
10015
@@PROCESS
10016
631. John DALTON DCL
10017
(1766-1844)
10018
46.5 cms. (height); 48.6 cms. (width)
10019
Head, shoulders, and proper right hand. Sawn
10020
through the upper chest and wrist. From a whole-length
10021
seated figure. Chips missing from sawn edge,
10022
also recent damage to proper right shoulder
10023
(frogments from which survive). Uncleancd. Flaking
10024
on chin and around eyes.
10025
Chantrey dft, no. 35; E}c¢cd Rcow¢.cog.fcc„ccf, no.
10026
38; Irmc Pcolc, no. 547.
10027
Marble in the Town Hall, Manchester
10028
(formerly in the Royal Manchester
10029
Institution). Commissioned 1834, paid for
10030
1840 (RA Ledger, p. 259), exhibited Royal
10031
Academy 1837 (no.1162, specified as of
10032
marble). Dalton was a chemist and natural
10033
scientist, professor at New College,
10034
Manchester, and President of the Manchester
10035
Philosophical Society.
10036
@@PROCESS
10037
632. Charlotte Elizabeth DIGBY
10038
(1778-1820)
10039
43.8 cms. (height); 38.7 cms. (width)
10040
Head and shoulders. Sawn through the breasts and
10041
upper arms. From a whole-length reclining figure.
10042
Chips missing from sawn edge. Unclcancd.
10043
Extensive flaking especially in the face.
10044
Chantrey Sft, no. 36; E}c¢ed RcowG.#£.JCG"CCJ, no.
10045
16; Lane Poole, no. 548.
10046
Marble, dated 1825, serves as monument in
10047
Worcester Cathedral (N.B. Penny, C¢#rc¢
10048
Monttments in Romantic England (ENc:iw
10049
Haven, Conn., and London, 1977), 86, pl.
10050
63). Commissioned 1823, completed 1825
10051
(RA Ledger, p. 157), exhibited Royal
10052
Academy 1826 as `Resignation'. Mrs Digby
10053
was Maid of Honour to Queen Charlotte.
10054
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
10055
@@PROCESS
10056
633. William Henry Dawnay,
10057
Viscount DOWNE ( 1812-54)
10058
45.6 cms. (height); 52.2 cms. (width)
10059
Head and shoulders. Sawn through chest just below
10060
ermine collar. From a whole-length standing figure.
10061
Chips missing from sawn edge, a large one at proper
10062
left side. Uncleaned. Slight flaking to face.
10063
Chantrey bft. i\o. 37., Etched Remini§cence§. no.
10064
32; Lane Poole, no. 549.
10065
Marble in Snaith Church, Yorkshire.
10066
Commissioncd in 1833, completed 1838
10067
(RA I.edger, p. 256). In Chantrey's ledger
10068
the reference is to the earl of Downc, but
10069
this seems to have been an error.
10070
@@PROCESS
10071
634. Robert DUNDAS of Arniston
10072
(1758-1819)
10073
41.5 cms. (height); 47.5 cms. (width)
10074
Head and shoulders. Sawn through upper chest just
10075
below shoulders. From a whole-length seated
10076
figure. The head, which is obviously a separately
10077
cast unit, is loose. A chip missing from sawn edge
10078
to proper left. Unclcancd. Extcnsivc flaking to
10079
forehead.
10080
Cha:utrey trft. no. 40: Etched Rcminiscences` no.
10081
51; Lane Poole, no. 552.
10082
Marble statue erected in the Sessions House,
10083
Edinburgh. Commissioned 1820, completed
10084
1821, paid for 1822 (RA Ledger, p.117).
10085
Dundas was appointed Chief Baron of the
10086
Exchequer of scotland. See also No. 700.
10087
@@PROCESS
10088
635. Sir Edward Hyde EAST Bt.
10089
(1764-1847)
10090
43.7 cms. (height); 53.I cms. (width)
10091
Head, shoulders, and proper right forearm. Sawn
10092
through chest. From a whole-length seated figure.
10093
Minor chips missing from sawn edge. Unclcaned.
10094
FLaking.
10095
Chai\t[ey ¢R` no. 43: Etched Reminiscence§` r\o.
10096
12; I.anc Poole, no. 555.
10097
Marble erected in the Court House, Calcutta.
10098
Completed 1829, paid for 1832 (RA Ledger,
10099
p. 195), exhibited Royal Academy 1829 (no.
10100
I 198). East was Chief Justice of calcutta
10101
1813-22.
10102
@@PROCESS
10103
636. Mountstuart ELPHINSTONE
10104
(1779-1859)
10105
46.8 cms. (height); 46.6 cms. (width)
10106
Head and shoulders. Sawn through the upper chest.
10107
From a whole-length standing figure. Minor chips
10108
missing from sawn edge. Uncleaned. Extensive
10109
flaking to face.
10110
Cha\ntrey bit, r\o. 47.. Etched Reminiscences. no. 7.`
10111
hone Poole, no. 559.
10112
Marble erected in Bombay. First payment
10113
1829; completed 1834 (RA Ledger, p. 216);
10114
exhibited Royal Academy 1833 (no.1177).
10115
Elphinstone was Governor of Bombay 1819-
10116
27.
10117
@@PROCESS
10118
637. Sir Charles FORBES Bt.
10119
(1774-1849)
10120
34.8 cms. (height)
10121
Head broken off just below chin. From a full-length
10122
standing figure. A chip missing from the edge to
10123
proper left. Uncleaned. Flaking, chiefly on the nose.
10124
A scparatcly cast unit.
10125
Chantrey Sft, no. 50; Efc4c¢ Rcow®.»dec„ccf, no.
10126
23; Lane Poole, no. 562.
10127
Marble erected in the Town Hall, Bombay.
10128
Commissioned by the native merchants of
10129
Bombay 1839, paid for 1841 (RA I.cdgcr, p.
10130
@@PROCESS
10131
295), exhibited Royal Academy 1842 (no.
10132
1304, specified as marble). Forbes was head
10133
of the merchant house of Forbes and
10134
Company, the biggest trading concern in
10135
Bombay, and also active as a political figure
10136
in Britain, vigorously opposed to the Reform
10137
Bill.
10138
@@PROCESS
10139
638. RIng GEORGE Ill
10140
(1738-1820)
10141
38.8 cms. (height)
10142
Head and part of shoulders. Sawn across the
10143
shoulders. From a whole-length standing figure.
10144
The head (a separately cast unit) now loose. Dccp
10145
scratches across eyebrows and nose. Some chips
10146
along the sawn edge. Three holes behind the proper
10147
left shoulder. Uncleaned.
10148
Chai\tTcy tsft. no. 52., Etched Reminiscences` Ilo.
10149
21; I.arc Poole, no. 564.
10150
Marble statue, dated 1812, erected in the
10151
Guildhall, I.ondon (destroyed by enemy
10152
action,1940). Commissioned 1811,
10153
completed 1812, erected 1815 (RA I.cdgcr,
10154
p.15).
10155
@@PROCESS
10156
639. King GEORGE IV
10157
(1762-1830)
10158
48.2 cms. (height)
10159
Head and part of neck. Broken across neck. From
10160
a colossal full-length standing figure. I.argc chips
10161
missing from curls. Uncleancd. A separately cast
10162
unit.
10163
Chal\trey gife` no. 54: Etched Reminiscences` no.
10164
17; I.anc Poole, no. 566.
10165
The bronze statue was erected at Brighton,
10166
the marble at windsor Castle. The latter was
10167
commissioned 1828, completed 1832, paid
10168
for 1836 (RA Ledger, p. 210).
10169
@@PROCESS
10170
637
10171
@@PROCESS
217
10173

                
10174
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
10175
@@PROCESS
10176
640. General Sir Robert Rollo
10177
GILLESPIE KCB ( 1766-1814)
10178
42.7 cms. (height)
10179
Head and neck. Sawn through collar. From a full-length
10180
standing figure. Chipped along sawn edge
10181
with a pordon of the collar broken off. Cleaned by
10182
Rachel Kenward. Origival shellac finish rctaincd.
10183
Chantrey Bit, no. 55: Etched Reminiscences, no.
10184
25; I.anc Poole, no. 567.
10185
Marble serves as monument in St PauL's
10186
Cathedral. Commissioned 1816, completed .7r
10187
and erected 1826 (RA Ledger, p. 55).
10188
GiLlespie served as a commanding officer in
10189
India and Jamaica.
10190
@@PROCESS
10191
641. Henry GRATTEN
10192
(1746-1820)
10193
43.9 cms. (height)
10194
Head and shoulders. Sawn across upper chest. From
10195
a full-length standing figure. Chips missing from
10196
the sawn edge all round. large chip missing below
10197
proper right collar. A large part of the proper left
10198
shoulder missing. Unclcaned. Extcnsivc flaking
10199
especially to lower part of face.
10200
Chanttey givtt. no. 56S Etched Reminiseenees` r\o.
10201
19; Imc Poole, no. 568.
10202
Bronze, erected in the City Hall, Dublin.
10203
Commissioned 1822, completed 1827, paid
10204
for 1829 (RA Ledger, p. 153), exhibited
10205
Royal Academy 1826 (no. 1067, as a `model',
10206
presumably of plaster, to bc cast in bronze).
10207
Grattan was an Irish statesman and orator.
10208
@@PROCESS
10209
642. Regivald HEBER, bishop of
10210
Calcutta ( 1783-1826)
10211
43.5 cms. (height)
10212
Head and collar. Sawn across shoulders. From a
10213
full-length kneeling figure. I,arge chips missing
10214
from the sawn edge all round. Unclcaned. Slightly
10215
flaking.
10216
Chantrey Sft, no. 62; Efc4Gd RcowG.ce;fcc"ccj, no.
10217
27; hac Poole, no. 574.
10218
The marble serves as a monument in St Paul's,
10219
Calcutta (oridnally crcctcd in St Tohn's,
10220
Calcutta). Commissioned 1827, completed
10221
1835 (RA Ledger, p. 199). Heber, a poet
10222
and hymn-writer of note, was bishop of
10223
Calcutta 1822nd. See Nos. 643 and 714.
10224
@@PROCESS
10225
218
10226
@@PROCESS
10227
638 640
10228
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
10229
@@PROCESS
10230
643. Reginald HEBER, bishop of
10231
Calcutta ( 1783-1826)
10232
42.7 cms. (height)
10233
Head and shoulders. Sawn across upper chest and
10234
also vertically at proper right shoulder. From a full-length
10235
kneeling high-relief figure, Small losses in
10236
the hair. Chips missing along sawn edge.
10237
Uncleancd. Flaking, especially on forehead.
10238
Chantrey gift, no. 63; Efc4Gd Rcow¢."¢.fcc#ccf, no. 2;
10239
I.are Poolc, no. 575.
10240
The marble high relief was erected as a
10241
monument in St George's Chapel, Madras.
10242
Commissioned 1827, completed 1830 (RA
10243
Ledger, p. 198), exhibited Royal Academy
10244
1830 (no. 1270). I,ane Poole confused this
10245
with the third of chantrey's monuments to
10246
Heber, the one commissioned in 1828 and
10247
erected in St Paul's in 1835 (RA Ledger, p.
10248
@@PROCESS
10249
215, reproduced and discussed in N. 8.
10250
Pc;riny , Church Monuments in Romantic
10251
E„g/¢"d (New Haven, Conn., and I.ondon,
10252
1977), 76-8, and 213, pl. 56) which
10253
incolporatcs a small relief on its plinth of the
10254
bishop blessing converted Hindus but is an
10255
isolated kneeling figure like the Calcutta
10256
monument (No. 642). The head, however,
10257
a.nd the disposition of the curls are the sa.me
10258
in the versions in Madras and St Paul's.
10259
@@PROCESS
10260
644. Francis Seymour-Conway,
10261
2nd marquess of HERTFORD
10262
(1743-1822)
10263
37.2 cms. (height); 50.8 cms. (width)
10264
Head and shoulders. Sawn across upper chest. From
10265
a full-length reclining figure. Chipping along the
10266
sawn cdgc, cspccially to proper right. A hole in the
10267
collar to proper left. Deep scratch in forehead.
10268
Uncleaned. Extensive flaking,
10269
Chal\trey bR, no. 67S Etched Reminiscences, no.
10270
50.
10271
The marble serves as a monument in Alccstcr,
10272
Warwickshire. Commissioned November
10273
1822, paid for 1827 (RA Ledger, p.152).
10274
I.ord Hertford was Ambassador
10275
Extraordimry to Berlin and Vienna 17934
10276
and I,ord Chamberlain 1812-21.
10277
@@PROCESS
10278
645. William HEY (1736-1819)
10279
34.8 cms. (height); 39.8 cms. (width)
10280
Head, shoulders, and proper left hand. Sawn across
10281
shoulders and wrist. From a full-length scatcd figure.
10282
Chips missing along sawn edge, with large losses at
10283
the coat collar. Unclcaned. Eyes pcncilled in.
10284
Extensive flaking chiefly to face.
10285
Chantrey dft, no. 68; Efc¢cd RcovS."G.fcGrec¢j, no.
10286
54; I.ane Poole, no. 580.
10287
Marble in Leeds Infirmary, dated 1826.
10288
Commissioned 1820, completed 1826 (RA
10289
Ledger, p. 125). Hey was a notable surgeon.
10290
I.one Poole speculated that the statue might
10291
bc of his son, also William and a surgeon
10292
( 1772-1844), but the commission comes the
10293
year after the father's death.
10294
@@PROCESS
10295
646. Francis HORNER MP
10296
(1778-1817)
10297
43.5 cms. (height); 46.5 cms. (width)
10298
Head and shoulders. Sawn across the chest. From
10299
a full-length standing figure. Uncleaned. Slight
10300
flaking to face and hair.
10301
Chantrey dft, no. 72; Efc¢c¢ RecoS.»!.jcc„ccf, no.
10302
29; Lane Poole, no. 584.
10303
Marble, dated 1823, in Westminster Abbey.
10304
Commissioncd,1817, completed 1823 (RA
10305
Ledger, p. 73). Homer was a barrister and
10306
statesman.
10307
@@PROCESS
10308
647. sir Hugh INGLls Bt. (d. i82o)
10309
35.4 cms. (length)
10310
Head, shoulders, and por(ion of a rolled mattress.
10311
Sawn across chest and diagonally through the
10312
mattress to either side of the head. From a full-length
10313
recumbent figure. Chips missing along the
10314
sawn cdgcs. A large piece detached from the drapery
10315
at the chest (replaced for the photograph).
10316
Uncleancd. Very slight flaking.
10317
Chantrey ©ft, no. 76; Etched Reminiscences, no.
10318
58; Imc Poolc, no. 588.
10319
Commissioned 1826, completed 1832, paid
10320
for 1836 (RA Ledger, p. 178). Inglis was
10321
Director of the East India Company. The
10322
monument is hikcly to have been erected in
10323
India.
10324
@@PROCESS
10325
648. Dr Cyril TACKSON
10326
(1746-1819)
10327
43 cms. (height)
10328
Head and shoulders. Sawn across chest. Chipped
10329
at sawn cdgc. From a full-length seated figure.
10330
Uncleaned. Slightly flaking. (The head was a
10331
scparatcly cast unit. It is now detachable and some
10332
plaster is missing from the junction. )
10333
Chontrey Stt, no. 78; Etched Reminiscences. no. 9S
10334
Idnc Poole, no. 590.
10335
Marble in the hall, Christ Church, Oxford.
10336
Commissioned 1820, complctcd 1825 (RA
10337
Ledger, p. 216), exhibited Royal Academy
10338
1824 (no. 1006). Jackson was dean of Christ
10339
Church from 1783 until his resignation in
10340
1809. Chantry used the portra.it of him by
10341
Opie as a model.
10342
@@PROCESS
219
10344

                
10345
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
10346
@@PROCESS
10347
649. Dorothy Bland, known as Mrs
10348
JORDAN ( 1762-1816)
10349
39.2 cms. (height); 38.I cms. (width)
10350
Head and shoulders. Sawn across chest. Cleaned by
10351
Rachcl Kcnward ,
10352
Chantrey Sft, no. 81; Efc4c¢ Rcow¢.»¢.fce»ccf, no.
10353
30; Lane Poole, no. 593.
10354
Marble in Buckingham Palace.
10355
Commissioned 1831, completed 1834. See
10356
No. 456 where the sculpture is discussed
10357
more fully.
10358
@@PROCESS
10359
650. Theodosia I.ouisa, countess of
10360
LIVERI'OOL ( 1767-182 I )
10361
@@PROCESS
10362
135.I cms. (height)
10363
The plinth is chipped at all edges and scratched.
10364
Chips arc also missing from the top of the head,
10365
the veil, and the upper edge of the chair. The top
10366
of the thumb of the proper left hand has broken
10367
off and is missing. A repair to the top of the chair
10368
(liquid plaster from which has run down the chair
10369
back). Uncleancd. Flaking, especially to top of head
10370
and to lap. Green and black paint smeared and
10371
dribbled on the dress.
10372
Chantrey aft, no. 83; E}c¢cd RccoS.„S.jccceccf, no.
10373
42; Irme Pcole, no. 595.
Marble in All Saints Church, RIngston-on-
10375
Thames. Commissioned 1822, completed
10376
1826 (RA Ledger, p. 145), exhibited Royal
10377
Academy 1824 (no. 1008, perhaps as a
10378
plaster). Indy Liverpool was the daughter of
10379
the fourth earl of Bristol and first wife of the
10380
Prime Minister.
10381
@@PROCESS
10382
651. Sir John MALCOLM Bt. GCB
10383
(1769-1833)
10384
41 cms. (height)
10385
Head and neck. Broken off at junction of collar
10386
with shoulders. From a whole-length standing
10387
figure. A small perforation in the crown. Points
10388
visible. Uncleancd. Probably a separately cast unit
10389
which broke when it was attempted to detach it.
10390
Chantrey Sft, no. 86; Efc4e¢ Rcow¢."G.fcc»ccf, no.
10391
34; I.one Poolc, no. 598.
10392
Marble in Westminster Abbey and Bombay.
10393
The latter commissioned 1831, completed
10394
1836 (RA Ledger, p. 236, exhibited Royal
10395
Academy 1837 (no. 1161, specified as of
10396
marble). Malcolm was a. noted diplomat a.nd
10397
administrator in India. He was governor of
10398
Bombay. See No. 729.
10399
@@PROCESS
10400
220
10401
@@PROCESS
10402
650
10403
@@PROCESS
10404
651
10405
APPENDIX I PLASTER CASTS FROM THE STUDIO 0F SIR FRANCIS CHANTREY
10406
@@PROCESS
10407
652. James NORTHCOTE RA
10408
(1746-1831)
10409
@@PROCESS
10410
142.8 cms. (height)
10411
Thcrc arc large losses to the cdgc of the palette.
10412
Thrcc fragments survive (but do not quite fill the
10413
gaps). There arc three dents on the collar to proper
10414
left. The plinth is chipped, cspccially at the comer
10415
behind to proper left. A large piece has been broken
10416
from the proper right foot. Minor chips arc missing
10417
elscwhcre. Uncleaned. Flaking on the proper right
10418
knee and on the crown.
10419
Chantrey dft, no. 101; Efcded Reow¢.7¢¢.fcc»ccf, no.
10420
38; Lane Poolc, no. 613.
10421
Marble in Exeter Cathedral. Commissioned
10422
1831, completed 1840 (RA Ledger, p. 237),
10423
exhibited Royal Academy 1840 (no. 1074,
10424
specified as of marble). Northcote was a
10425
painter, chiefly of portraits, and a minor
10426
author.
10427
@@PROCESS
10428
653. William PITT ( 1759-1806)
10429
57.3 cms. (height)
10430
Head. Dctachcd at the neck about two inches below
10431
chin. From a colossal whole-length standing figure.
10432
Large chip missing from cdgc behind head.
10433
Uncleaned. The head was cvidcntly a separately
10434
cast unit lcvered off, rather than sawn from, the
10435
body.
10436
Chantrcy &tt` no. \07S Etched Reminiscences, no.
10437
3; Iame Poole, no. 619.
10438
Bronze in Hanover Square, Ijondon.
10439
Commissioned 1831, completed 1833 (RA
10440
Ledger, p. 247). Pitt was Tory Prime Minister
10441
1783-1800.
10442
@@PROCESS
10443
654. Sir Thomas Stamford RAFFLES
10444
(1781-1826)
10445
45.8 cms. (height)
10446
Head, shoulders, and proper right forearm. Sawn
10447
through chest and am. From a whole-length seated
10448
figure, chips missing from edge of coat collar.
10449
Unclcancd. Extensive flaking.
10450
Chantrey Sft, no. I 10; Efc4cd Rceez."z.rcc#ccf, no.
10451
20; Lane Poole, no. 622.
10452
Marble dated 1832 in Westminster Abbey. A
10453
bust of Raffles was commissioned and
10454
completed in 1817 (RA Ledger, p. 53).
10455
Raffles was Govcmor first of Java and then
10456
of singapore.
10457
@@PROCESS
10458
655. Ellen Jane ROBINSON
10459
(d. c.1815)
10460
25.8 cms. (height)
10461
Head. Scvcred through the upper neck. From a
10462
whole-length rccumbcnt figure. Cleaned by Rachel
10463
Kenward. Picccs of iron and rust in the interior of
10464
@@PROCESS
10465
221
10466
the head suggest that an iron dowel was used. The
10467
head sccms to have been a separately cast unit. The
10468
porous surface comes from air bubbles in the
10469
plaster.
10470
Etched Reminiscences` rro. \ .
10471
Marble group (of interlaced effigies of Ellen
10472
Jane and her sister Mariannc) in Lichficld
10473
Cathedral. Commissioned 1815 (RA Ledger,
10474
p. 43), exhibited Royal Academy 1817 (no.
10475
1029). The S/ccP¢."g c¢¢./drc" was among the
10476
most famous of Chantrcy's sculptures; the
10477
children themselves were among the most
10478
obscure of all his subjects.
10479
@@PROCESS
10480
656. William ROSCOE MP
10481
(1753-1831)
10482
26.4 cms. (height of head); 23.I cms. (height of
10483
upper chest without head)
10484
Head and shoulders (the former now detached).
10485
Sawn through the chest. From a whole-length
10486
seated figure. Unclcaned. Flaking to shoulders and 1:`J¥ t
10487
hair. The head was probably cast as a separate unit.
10488
Chantrey Sft, no. 112; Efc¢Gd RcowS.„;fcc„ccf, no.
10489
10; Lane Poolc, no. 624.
10490
Marble in St George's Hall, I.iverpool.
10491
Commissioned 1835 (RA Ledger, p. 265),
10492
exhibited Royal Academy 1840 (no. 1071,
10493
specified as marble). Roscoe was a historian
10494
and promoter of cultural life in Liverpool.
10495
@@PROCESS
10496
657. Lady Louisa Jane RUSSELL
10497
(later duchess of Abercorn)
10498
(1812-1905)
10499
28.4 cms, (height)
10500
Head, shoulders, hands, and dove. Sawn through
10501
the chest and wrists. From a whole-length standing
10502
figure. Cleancd by Rachcl Kenward. The head was
10503
cast as a separate unit and is slightly loose. Points
10504
are very evident.
10505
Chantrey gift, no. I 14; Efcded RcowG."G.fcc"ccf, no.
10506
5; Lenc Poole, no. 626.
10507
Marble at Woburn Abbey, Bedfordshire.
10508
Commissioned 1817, completed 1818,
10509
exhibited Royal Academy 1818 (no.1116),
10510
delivered to Woburn 1819 (Potts, no. 26).
10511
Ijouisa was the younger daughter of the sixth
10512
duke of Bedford. She married the second
10513
marquess (later the duke) of Abercorn in
10514
1832.
10515
@@PROCESS
10516
658. Henry RYDER, bishop of
10517
Lichfield and Coventry ( 1777-1836)
10518
33.5 cms. (height of head); 29.7 cms. (height of
10519
upper chest without head); 50.I cms. (width of
10520
upper chest)
10521
Head and shoulders (the former now detached).
10522
Sawn through the chest. From a whole-length
kneeling figure. Chips missing from the folds of
10524
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
10525
both slcevcs along sawn cdgc. Uncleaned. Flaking
10526
to the crown of the head. A large crack under the
10527
chin.
10528
Chantrey Sft, no. I 15; Efchcd Rcow;„ifcG„ccf, no.
10529
13; hanc Poolc, no. 627.
10530
Marble serves as monument in Lichfield
10531
Cathedral (N. 8. Penny, C¢"rc¢ Mo"#owG„£r
10532
in Romantic England (INow H:aNen, Conn.,
10533
and Ijondon, 1977), 78, pl. 57).
10534
Commissioned 1836 (RA Ledger, p. 284),
10535
exhibited Royal Academy 1841 (no.1251 ).
10536
@@PROCESS
10537
659. Martha, Countess
10538
ST VINCENT (d. 1816)
10539
28.2 cms. (height); 36 cms. (width)
10540
Head and shoulders. Sawn through upper chest.
10541
From a whole-length kneeling figure. Chips missing
10542
from sawn edge and large chip missing from the
10543
veil to proper right. Treated by Kathleen Kimber
10544
(then Miss Wcstem) 1959ndo and given a new
10545
painted surface to imitate the colour and polish of
10546
marble, Flaking.
10547
Chantrey Sft, no. 131; E}cAed Rcw2;„£.TCG%ccf. no.
10548
31; hanc Poole, no. 643.
10549
The marble scrvcs as a monument in
10550
Cavcrswall Church, Staffordshirc (N. 8.
10551
Pcr\Iry. Church Moriunents in Romantic
10552
Eceg/¢»d (New Haven, Conn. , and London,
10553
1977), 71, pl. 51). Commissioned 1816,
10554
completed 1818 (RA Ledger, p. 45). An
10555
idcalized portrait reused by the sculptor for
10556
monuments to ladies-it could be mistaken
10557
as an idealized moumer as distinct from a
10558
portrait of the deceased (see ibid. 71-3) but
10559
for the presence of a coronet carelessly
10560
propped by her side. This coronet, however,
10561
was perhaps an afterthought, for it is absent
10562
from the plaster as iuustratcd in Efc4c¢
10563
RcowS.„G.fcc"ccj where the composition is
10564
captioned `A cenotaph'. For Irddy St
10565
Vincent's husband see No. 753.
10566
@@PROCESS
10567
660. I.ady Frederica I.ouisa
10568
STANHOPE ( 1800-23)
10569
35.1 cms. (length)
10570
Head, Sawn through the neck, From a whole-length
10571
recumbent figure. Uncleaned. Some flaking to chin
10572
and to veil.
10573
Chantrey gft, no. 126; EfcAc/ Rcee¢.„¢.jce„cer, no.
10574
41; I.arc Poole, no. 638.
10575
Marble serves as monument in Chevening,
10576
Kent (N. 8. Penny, C¢"rc47 Mo##coc"£r ¢.
10577
Roow¢»f;c E"g/a"d (New Haven, Conn., and
10578
London, 1977), 120, pl. 90). Commissioned
10579
1823, completed 1827 (RA Ledger, p.150).
10580
The monument is wrongly said by Fisher in
10581
Efc4cd RGovG."¢.fGe~cff to be at Chievling
10582
Church and by IAne Poole to be at Chieveley
10583
Church, Bcrkshire. I.ady Stanhope was the
10584
daughter of the earl of Mansfield and wife of
10585
@@PROCESS
10586
222
10587
the Hon. James, son of the first Earl
10588
Stanhope. She died in childbed and the
10589
monument depicted her with her child at her
10590
breast.
10591
@@PROCESS
10592
661. Jessie Anne Letitia, Mrs Thomas
10593
Taylor VERNON, with her two sons
10594
(d. 1840)
10595
@@PROCESS
10596
147 cms. (height); 103,5 cms. (width); 27.5
10597
cms. (depth of base)
10598
Chipped at edges of base, especially in proper right
10599
comer, also on the drapery of the kneeling child and
10600
on upper edge. Uncleaned. FlaLking and scratched,
10601
Chantrey aft, no. 139; Efcded RGowG."¢.fcc»cGf, no.
10602
50; I.anc Poole, no. 651.
10603
The relief served as a monument to Mrs
10604
Vemon's husband (d. 1835) at Hanbury,
10605
Worcestershire. Commissioned 1836,
10606
completed 1839 (RA Ledger, p. 279). The
10607
porrfut of Mrs Vernon and her sons is
10608
obviously idealized.
10609
@@PROCESS
10610
662. George WASHINGTON
10611
(1732-99)
10612
43.8 cms. (height); 54.5 cms. (width)
10613
Head and shoulders. Sawn through the upper chest.
10614
From a full,length standing portrait. Chips missing
10615
at the sawn edge. Uncleaned. Extensive flaking.
10616
Chantrey aft, no. 142; Efcded Rcow¢."!.fcc"ccf, no.
10617
11; Lane Poolc, no. 654.
10618
The marble is in the State House, Boston,
10619
Massachusetts. Commissioned 1819, paid for
10620
1827 (RA Ledger, no. 102), exhibited Royal
10621
Academy 1826 (no.1071). A full account of
10622
the commission is given in i4# B#//cty.» (June
10623
ig89), 254nd8.
10624
@@PROCESS
10625
663. James WATT (1736-1819)
10626
40.4 cms. (height); 40.8 cms. (width)
10627
Head and shoulders. Sawn through chest. From a
10628
full-length seated statue. Chips missing from the
10629
sawn edge. Some shallow prelimimry sawing cuts.
10630
Unclcancd. Flaking.
10631
Chantrey Sft, no. 144; Efded RG„;.%j.fce7ecef, no.
10632
8; hone Poolc, no. 656+
10633
OriSnal marble version serves as a monument
10634
in Handsworth Church, Birmingham (N. 8.
10635
Penny , Church Monunen:Ss in Romantic
10636
Erg/¢„¢ (New Haven, Conn., and I.ondon,
10637
1977), 198-201, pls. 142 and 143); replicas
10638
in marble for the Huntcrian Museum,
10639
Glasgow University, and Greenoch, and in
10640
bronze for Glasgow, and enlarged in marble
10641
for Westminster Abbey (now in the crypt of
10642
St Paul's Cathedral). Original marble
10643
commissioned 1820, completed 1824 (RA
10644
@@PROCESS
10645
657
10646
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
10647
@@PROCESS
10648
665
10649
@@PROCESS
10650
666
10651
fof;i/
10652
I.edger, p. 124), exhibited Royal Academy
10653
1824 (no. 1010). Watt was the most famous
10654
British inventor and engineer of his period.
10655
@@PROCESS
10656
664, 665, and 666. David Pike
10657
WATTS, his daughter, and an infant
10658
(1754-1816)
10659
25.6 cms. (height of fragment of watts, 664);
10660
38.8 cms. (height of fragment of Maria Watts
10661
Russell, 665); 13.9 cms. (height of fragment of
10662
infant, 666)
10663
(664) Head. Sawn through the neck. From a full-length
10664
reclining figure. Uncleancd. Sheuac is
10665
unusually ruddy.
10666
(665) Head, shoulders, and part of proper left hand.
10667
Sawn through the hand and bosom. From a full-length
10668
kneeling figure. Chips missing from the sawn
10669
edge. Part of the middle finger broken off.
10670
Unclcancd. Points visible in hair. Flaking chiefly on
10671
face.
10672
(666) Part of head and drapery. Sawn through
10673
check diagonally. From the whole-length standing
10674
infant pressed against Mrs Watts Russcu.s side.
10675
Uncleaned.
10676
Cho[\:tray Stt, i\o. \45S Etched Reminiscences, no.
10677
35; Ime Pcole, no. 657.
10678
Marble group of David Pike Watts on his
10679
deathbed blessing his daughter Mrs Watts
10680
Russell, who kneels beside him with three
10681
children, is in llam Church, Derbyshire (N.
10682
8. Pc;:r\ny , Cbt4rch Monuments in Romantic
10683
E„4/¢"d (New Haven, Conn., and I.ondon,
10684
1977), 80-5, pl. 61). Commissioned 1816,
10685
completed 1827, paid for 1829 (RA Ijedgcr,
10686
p. 64), but erected 1826 (according to
10687
inscription).
10688
@@PROCESS
10689
667 and 668. Mourners of James
10690
WILDAEN (d. c.1817)
10691
30.4 cms. (height of fragment of female
10692
mourner, 667); 52.3 cms. (height of fragment
10693
of male moumcr, 668)
10694
(667) Head, proper left forearm, and proper right
10695
shoulder. Sawn across shoulders and arm. From a
10696
full-length scatcd figure. Uncleaned. Extensive
10697
flaking.
10698
(668) Head and shoulders. Sawn across upper chest
10699
and cut vcll:ically through proper right arm. From
10700
a full-length seated figure. Head dcl:achable.
10701
Uncleancd. Unusually red in colour. Extensive
10702
flaking. The vertical cut is oritinal.
10703
Cl\antrey gLft` no. 67; Etched Reminiscences, Ilo.
10704
33.
10705
Marble group of a male and female moumer
10706
beside a sarcophagus (another younger
10707
female with her head buried in the lattcr's lap)
10708
@@PROCESS
10709
668 is in chi|ham church, Kent, commemorating
10710
James Wildman. Commissioned 1817, paid
10711
for 1820 (RA Ledger, p. 273). The portraits,
10712
presumably of the deceascd's children and
10713
grandchildren, are obviously idealizcd and are
10714
not included in I.ane Poole.
10715
@@PROCESS
223
10717

                
10718
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
10719
@@PROCESS
10720
669. Sir Ralph WOODFORD
10721
(d. c.1835)
10722
37.8 cms. (height)
10723
Head, collar, and part of right hand. Sawn across
10724
collar and hand. From a full-lcngth reclining figure.
10725
Chips missing from back of collar, front of collar,
10726
the hair, the left nostril. Points visible. Partially
10727
clcancd by Rachel Kcnward. Painted in a white
10728
across back of collar. `WooDFORD'. A separately
10729
cast unit.
10730
Etched Runiniscences, rio. 57 .
10731
Marble serves as a monument in Trinidad
10732
Cathedral. Commissioned 1835, completed
10733
1839 (RA Ledger, p. 273). The head may
10734
well have been detached from the body
10735
previous to the destruction of the statues in
10736
1938 and this would explain the identification
10737
on the back. If it was put away in a cupboard
10738
after such an accident then that would explain
10739
its omission from I.anc Poole's catalogue.
10740
@@PROCESS
10741
670. Female mourner
10742
27 cms. (length)
10743
Head, shoulders, and arms. Sawn across upper back
10744
and through the drapery below the arms. From a
10745
full-length kneeling figure leaning on a block.
10746
Fingers of the proper left hand broken. Unclcaned.
10747
Flaking. The body is solid.
10748
Etched Reminiscences, no. 45.
10749
Identified as `A Monumcnt' in the Efc4ed
10750
RG„¢.„;rcc„cef this idealized figure was
10751
doubtless employed, possibly more than once,
10752
as a church monument by Chantrey.
10753
@@PROCESS
10754
671. Male and female moumers by
10755
an urn
10756
@@PROCESS
10757
168 cms. (height); 112 cms. (length); 26 cms.
10758
(width at base)
10759
Base somcwha.t chipped. Uncleaned. Flaking and
10760
surface scratches. `8' painted in black on front face
10761
of plinth to proper right. Cuts on the necks look
10762
like preliminaries to decapitation subscqucntly
10763
abandoned.
10764
Chantrey aft, no. 8; Efc4cd RGow¢.„!.jccoccf, no. 49.
10765
Identified as a `monumental design' in the
10766
Efc¢cd Rcow®."G.fcG„cef this must have been
10767
projected, and was probably employed, as a
10768
church monument by Chantrey, perhaps on
10769
more than one occasion.
10770
@@PROCESS
10771
224
10772
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
10773
@@PROCESS
10774
672. Brace of woodcocks
10775
@@PROCESS
10776
120 cms. (height); 47.3 cms. (length); 17.4 cms.
10777
(width)
10778
Chipped on crowning scroll to proper right and in
10779
the centre, also at lower comers. Unclcancd.
10780
Incised in model and reinforced in the plaster in
10781
neat capitals: `Two Woodcocks/killed at
10782
Hollcham/Nov. 1830/By Francis Chantrey,
10783
sculptor/At one shot!/Prescntcd to Thos Win.
10784
Coke Esq 1834'.
10785
Etched Reminiscences, rro. 6.
10786
The marble, dated 1834, is at Hollcham Hall
10787
(Potts, no. 29). Modelled 1833 and
10788
presented 1834 (RA I.cdger, p. 257).
10789
@@PROCESS
10790
673. Hector recommending his son to
10791
the Protection Of the gods
10792
@@PROCESS
10793
186 cms. (height); 144 cms. (length); 24 cms.
10794
(width at base)
10795
The plinth shattered at comers of base. Many
10796
fragments rcmaln. Numerous chips missing from
10797
cdgcs. Sawn line through Andromache's neck. The
10798
tip of nose of the nurse has been broken off, also
10799
the proper right thumb of Astyanax. Uncleaned.
10800
Flaking.
10801
Etched Reminiscences, rro. q7 .
10802
The marble, dated 1828, is in the sculpture
10803
gallery at Woburn Abbey. Commissioned by
10804
the sixth duke of Bedford.
10805
@@PROCESS
10806
674. PenelopeJs rehactance to prodttce
10807
the bow Of Ulysses
10808
@@PROCESS
10809
185 cms. (height); 146 cms. (length); 24 cms.
10810
(width at base)
10811
Numerous chips missing from edges of the base.
10812
The bowstring is made of jute dipped in plaster.
10813
The index finger of Pcnclope's left hand broken off,
10814
also the tip of the thumb of her other hand
10815
(prcscrved). Unclcaned. Flaking. `Penelope' is
10816
painted in black on front face of plinth. `Across her
10817
knees she laid the well-worn brow/And pcnsivc sat,
10818
and tears began to flow', from Pope's translation
10819
of Homer's I/¢.¢d (Book XXI), now only legible in
10820
the first half of the first line, is incised in the model
10821
on the ffont face of base to proper right.
10822
Paper label, no. 172; E4cded RccoS.#S+cc7ccef, no. 48.
10823
The marble, dated 1828, is in the sculpture
10824
gallery at Wobum Abbey. Commissioned by
10825
the sixth duke of Bcdford.
10826
@@PROCESS
10827
675. Head Of a young woman
10828
18.5 cms, (height)
10829
Sawn across neck. Chips missing from the point of
10830
the nose, from some of the curls, and from the
10831
neck. Unclcancd. Flaking. Solid cast.
10832
The head cannot be identified for certain with
10833
any sculpture by Chantrey and is unusual in
10834
style.
10835
EL:+u,ITS,:,i,i!;,,rd,;i,,,
10836
@@PROCESS
225
10838

                
10839
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
10840
PART 11
10841
Bust portraits
10842
@@PROCESS
10843
676. John Hamilton, lst marquess
10844
ofABERCORN (1756-1818)
10845
74 cms. (height including socle); 12.6 cms.
10846
(height of socle)
10847
Bust cleaned by Mohammcd Salch. Some flaking
10848
shellac rcmalns. The socle unclcaned and loose.
10849
Points visible on neck. Name painted on socle.
10850
Chantrey gift, no. I; paper label, no. 35; I.one
10851
Poolc, no. 513.
10852
Commissioned by the 4th earl of Aberdecn
10853
1820, paid for 1826, completed 1834 (RA
10854
I.edger, p. 120). Marble version dated 1823
10855
at Haddo House, Abcrdcen, companion with
10856
one of I,ord Abcrdeen.
10857
@@PROCESS
10858
677. Dr John ABERNETHY
10859
(1764-1831)
10860
74,6 cms, (height including socle); 13 cms.
10861
(height of soclc)
10862
Bust cleaned (to plaster) by Mohammed Saleh. The
10863
socle unclcaned. Name painted on socle.
10864
Chantrey 5ft, no. 2; paper label, no. 93; I.ane
10865
Poole, no. 514.
10866
Marble in the Royal College of surgeons,
10867
I.ondon, dated 1833. Commissioned 1831,
10868
completed 1834, paid for 1835 (RA Ijedger,
10869
p. 234). Abemethy was an eminent surgeon,
10870
anatomist, and physiologist.
10871
@@PROCESS
10872
678. Dr James ANDERSON
10873
(d. 1809)
10874
54.5 cms. (height including soclc); 9.5 cms.
10875
(height of socle)
10876
Bust cleaned by Mohammed Saleh. The socle
10877
unclcaned. Cracks across upper chest and neck and
10878
rear of head. Chip missing from proper right nostril.
10879
Name painted on socle.
10880
Chantrey ctft, no. 4; paper label. no. 61; I.anc
10881
Poole, no. 516.
10882
The marble was presented by an unknown
10883
donor to the Museum of Modern Art in
10884
Palazzo Pitti, Florence (Cat. sen. 703).
10885
Commissioncd 1819, completed and paid for
10886
1820 (RA Ledger, p. 42). The portrait was
10887
presumably posthumous. Anderson had been
10888
Physician-General to the East India Company
10889
at Madras.
10890
@@PROCESS
10891
226
10892
@@PROCESS
10893
679. Henry William Paget,
10894
lst marquess of ANGLESEY
10895
(1768-1854)
10896
76.2 cms. (height including socle); 15.3 cms.
10897
(height of socle)
10898
Bust cleaned by Mohammed Saleh. The socle
10899
uncleaned. Chip missing from point of nose and
10900
from lower moulding of soclc. Name painted on
10901
socle.
10902
Chantrey Sft, no. 6; Iame Poolc, no. 518.
10903
Marble at Plas Newydd, Antlesey, dated
10904
1816. Commissioned 1815, paid for 1816
10905
(RA Ledger, p. 41 ), exhibited Royal Academy
10906
1816 (No. 952).
10907
@@PROCESS
10908
680. Sir Joseph BANKS Bt.
10909
(1743-1820)
10910
54.4 cms. (height)
10911
Bust cleaned by Mohammed Saleh. Both comers
10912
of front of squared-off chest chipped. Scratches
10913
above proper right eyebrow. Points visible. Vestiges
10914
of name painted on recessed band of chest.
10915
Chantrey aft, no. 8; I.ane Poolc, no. 520.
10916
Marble signed and dated 1819 in Royal
10917
Society of Arts, I.ondon, presented by
10918
sculptor 1819. Commissioned 1814,
10919
completed by 1819 (RA Ledger, p. 40);
10920
exhibited at the Royal Academy 1816 (no.
10921
@@PROCESS
10922
953, presumably as a plaster) and 1818 (no.
10923
1105, presumably as a marble). Potts, no.17.
10924
For Banks see No. 623. Gunnis records a
10925
replica of the original marble at Petworth.
10926
@@PROCESS
10927
681. Shute BARRINGTON, bishop
10928
of Durham ( 1734-1826)
10929
56.I cms. (height)
10930
Bust clcancd by Mohammed Saleh. Unusually heavy
10931
cast. Incised on the back in the model: `Bishop of
10932
Durhan/Aetat 89/-1822'.
10933
Chantrey Sft, no. 10; hanc Poole, no. 522.
10934
Marble dated 1825 in Manchester City An
10935
Gallery. See also No. 624.
10936
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
10937
@@PROCESS
10938
683
10939
@@PROCESS
10940
682. Colonel Seymour Thomas
10941
BATHURST ( 1795-1834)
10942
79.2 cms. (height including socle); 14.3 cms.
10943
(height of soclc)
10944
Bust cleaned by Mohammcd Salch. Some shellac
10945
remains. I.ock of hair broken off to proper right.
10946
Points on chest. Name painted on socle (this area
10947
left uncleaned).
10948
Chantrey gift, no. 12; Ime Poolc, no. 524.
10949
Marble bust in collection of Lord Bathurst,
10950
Cirencester Park, dated 1836. Commissioned
10951
1834, completed 1836, paid for 1837 (RA
10952
I.cdger, p. 260).
10953
@@PROCESS
10954
683. Edward BIRD RA
10955
(1772-1819)
10956
55.4 cms. (height including socle); 13 cms.
10957
(height of soclc, including name tablet)
10958
Bust cleaned. Crack across chest repaired. Extcnsivc
10959
repairs to soclc. `E. BIRD. RA.' incised in model on
10960
lower edge of chest and `CIIANTREy/
10961
scuLFTOR/1816' incised in model on back.
10962
Chantrey aft, no. 14; I.anc Poole, no. 526.
10963
Exhibited at the Royal Academy 1817 (no.
10964
1061 ). A plaster cast is in the National
10965
Portrait Gallery (no. 986), another in the City
10966
Art Gallery and Museum, Bristol (according
10967
to Gunnis). Bird was a painter chiefly of genre
10968
subjects.
10969
@@PROCESS
10970
684. Sir William BLIZARD
10971
(1743-1835)
10972
74.3 cms. (height including socle); 12,1 cms.
10973
(height of socle)
10974
Cleaned (to plaster) by Mohammed Saleh. Some
10975
chellac and paint remains. Points visible. Small chip
10976
missing from drapery. Scratch on brow.
10977
Chantrey aft, no. 15; I.one Poolc, no. 527.
10978
Marble bust in the Royal College of surgeons,
10979
London, dated 1816. Commissioned 1815,
10980
exhibited Royal Academy 1816 (no. 960)
10981
(Potts, no. 17). A second version
10982
commi§sioned 1820, completed 1825, for the
10983
Ilondon Hospital (RA I.cdger, p.119).
10984
Blizard was twice President of the Royal
10985
College of surgeons and was co-founder of
10986
the London Hospital Medical School.
10987
@@PROCESS
227
10989

                
10990
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
10991
@@PROCESS
10992
685. Sir Francis BURDETT Bt. MP
10993
(1770-1844)
10994
69.3 cms. (height including socle); 12.7 cms.
10995
(hcightofsocle)
10996
Cleaned by Mohammed Saleh. Superficial chip
10997
missing from drapery to proper right. `Modelled
10998
by/F. L. Chantrey/published Scpt.I.1810' incised
10999
in model on back.
11000
Chantrey rift, no. 18; hanc Poole, no. 530,
11001
Exhibited at the Royal Academy 1811 (no.
11002
@@PROCESS
11003
950). The copyright date suggests that the
11004
model was oriSnally made in preparation not
11005
for a marble but for an edition of plaster
11006
casts. Burdett was the Radical Member of
11007
Parliament for Westminster and in 1810,
11008
owing to his imprisonment in the Tower of
11009
h)ndon in the cause of Freedom of Speech,
11010
was a popular hero in I,ondon. Chantrey
11011
seems also to have published casts of
11012
Burdett's radical ally Home Tooke (see No.
11013
@@PROCESS
11014
773).
11015
@@PROCESS
11016
686. `Mr. Justice BURTON' (dates
11017
unknown)
11018
54.8 cms. (height)
11019
Uncleaned. large chip missing from cdgc of proper
11020
left shoulder and smaller one from chest to lower
11021
right edge. Name painted to proper right of edge
11022
of chest (`Mr Justice Burton' ).
11023
Chantrey dft, no. 19; paper label, no. 10; I.one
11024
Poole, no. 531.
11025
Commissioned 1824, completed and paid for
11026
1825 (RA Ledger, p. 172). lane Poole
11027
conjectured that this was Charles Burton,
11028
Justice of the King's Bench,1820.
11029
@@PROCESS
11030
687. John J. Pratt, lst Marquess
11031
CAMDEN (1759-1814)
11032
76.1 cms. (height); 12.7 cms. (height of socle)
11033
Cleaned by Mohammed Saleh with exception of
11034
patch around inscription on socle. Some shellac
11035
remains. Points visible. Vestiges of na.me painted
11036
on soclc.
11037
Chantrcy Sft, no. 20; Ime Poolc, no. 532.
11038
Marble bust in the National Portrait Gallery,
11039
dated 1835 (no. 5241). Commissioned
11040
1833; completed and paid for 1836 (RA
11041
Ledger, p. 259). Gunnis records a. bust at
11042
Bayham Abbey, Kent.
11043
@@PROCESS
11044
688. George CANNING
11045
(1770-1827)
11046
72.4 cms. (height including soclc); 13.I cms.
11047
(height of socle)
11048
Cleaned by Mohammed Saleh. Some shellac
11049
remains. Fine cracks on the neck and chin where
11050
repaired. Points visible.
11051
Chantrey Sft, no. 21; I,are Poole, no. 533.
11052
@@PROCESS
11053
228
11054
Marble bust in the National Portra.it Gallery,
11055
I/)ndon, dated 1821 (no. 282), another at
11056
Chatsworth, dated 1826. The first of these
11057
commissioned 1818, completed and paid for
11058
1820 (RA Ledger, p. 88). Canning was a
11059
leading Tory pohitician. See also Nos. 637,
11060
@@PROCESS
11061
638. There is a variant with a different style
11062
of drapery in the National Museum of wales,
11063
Cardiff, dated 1819, on the Committee Stairs
11064
of the Palace ofwestminstcr and in the Fclton
11065
Bequest at the National Gallery of victoria,
11066
Melbourne.
11067
@@PROCESS
11068
689. Robert Stewart, Viscount
11069
CASTLEREAGH ( 1769-1822 )
11070
75,2 cms. (height including socle); 12.7 cms.
11071
(height of socle)
11072
Cleaned by Mohammcd Salch. large chip missing
11073
fi.om front base of soclc. Scratches on the proper
11074
left shoulder. Points visible.
11075
Chantrey aft, no. 24; I.ane Poolc, no. 536.
11076
Marble busts in the National Portrait Gallery,
11077
London, dated 1822 (no. 687), Windsor
11078
Castle, also dated 1822, the Paul Mellon
11079
Center, New Haven, dated 1828, and at
11080
Powis Castle and Stratfield Saye ( both
11081
undated and perhaps studio replicas). A
11082
plaster cast at Cirencester Park.
11083
Commissioned 1820, completed and paid for
11084
1822 (RA I.cdgcr, p. 125). Ca§tlereagh
11085
served in successive Tory govemmcnts as
Chief Secretary for Ireland and then I.ord-
11087
Lieutenant of Ireland, as Secretary of war
11088
and then, 1812-22, as Foreign Secretary.
11089
@@PROCESS
11090
690. Thomas Otway CAVE
11091
(1797-1830)
11092
77.5 cms. (height including socle); 13.6 cms.
11093
(height of socle)
11094
Cleaned and shellac renewed by Rachel Kenward.
11095
Chip missing from collar to proper right.
11096
Nuncrous points visible.
11097
Chantrey dft, no. 25; lane Poole, no. 537.
11098
Marble at Stan ford Hall ( Leicestershire).
11099
Commissioncd 1831, completed and paid for
11100
1832 (RA Ledger, p. 235). The bust has
11101
previously been identified as a portrait of
11102
Robert Otway Cave. Thomas was a Major in
11103
the army.
11104
@@PROCESS
11105
685
11106
@@PROCESS
11107
687
11108
I,ch..,ij.:2,`,,,,,``
11109
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
11110
i.,.,t#,'Fit\
11111
@@PROCESS
11112
692
11113
@@PROCESS
11114
691. Sir Charles Mansfield CIARKE
11115
Bt. MD (1782-1857)
11116
71.7 cms. (height including socle); 13.7 cms.
11117
(height of soclc)
11118
Clcancd by Moha.mmed Salch. Points visible.
11119
Chantrey tlft, no. 26; Idnc Poolc, no. 538.
11120
Marble, dated 1840, lot 320, Sothcby's,
11121
London, 12 December 1985. Commenced
11122
1833, completed 1840 (RA Ledger, p. 262),
11123
exhibited at Royal Academy 1840 (no. 1199).
11124
The marble bust was presented by Chantrey
11125
to the sitter `as a mark of estecm', perhaps
11126
also in gratitude for medical advice.
11127
@@PROCESS
11128
692. Dr Henry CLINE
11129
(1750-1827)
11130
73.7 cms. (height, including socle); 12.6 cms.
11131
(heightofsoclc)
11132
Cleaned by Mohammcd Salch.. Some traces of
11133
shellac remain in face and hair. Vestidal scans,
11134
most evident in the hair. Made from the complctcd
11135
marble rather than the origival clay model. The cast
11136
rcproduccs the chiselled text on the colunnar
11137
support behind the chest in the marble `HENRy
11138
CLINE/F CHANTREY SC./1825'.
11139
Chantrey dft, no. 27; I.one Poole, no. 539.
11140
Marble in the Royal College of surgeons
11141
dated 1825. Commjssioned 1824, completed
11142
by 1826, paid for 1827 (RA Ifdger, p. 165).
11143
A bust of Cline, possibly from the same
11144
model, exhibited Royal Academy 1813 (no.
11145
@@PROCESS
11146
934). Cline was Master of the College of
11147
Surgeons in 1815 and President in 1823. An
11148
earlier bust of the same sitter, dated 1813, is
11149
in St Thomas's Hospital.
11150
@@PROCESS
11151
693. Admiral Sir Edward
11152
CODRINGTON ( 1770-1851)
11153
71.2 cms. (height, including socle); 13.8 cms.
11154
(heightofsorlc)
11155
Unclcancd. Flaking extensively. Name painted on
11156
socle.
11157
Chantrey Sft, no. 28; I.anc Poolc, no. 540.
11158
Commissioned 1817 (RA I.cdgcr, p. 56),
11159
exhibited Royal Acadcny 1819 (no.1221).
11160
Codrington was a notable naval commander
11161
during the Napoleonic Wars, made
11162
Commander-in-Chief of the Mediterranean
11163
Fleet in 1826 during the war of Greek
11164
Independence but was recalled in
11165
controversial circumstances in 1828, made
11166
Admiral of the Blue in 1837.
11167
@@PROCESS
229
11169

                
11170
AI'PENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
11171
@@PROCESS
11172
695
11173
@@PROCESS
11174
230
11175
@@PROCESS
11176
694. Henry Thomas
11177
COLEBROOKE ( 1765-1837)
11178
71.3 cms. (height, including socle); 13.4 cms.
11179
(height of socle)
11180
Cleaned by Mohammed Saleh. Rcpalrcd crack
11181
across the proper left shoulder. Crack in the back
11182
of the soclc. Points visible.
11183
Chantrey dft, no. 29; I.ane Poole, no. 541.
11184
Marble, dated 1820, in the India Office,
11185
London (according to Gunnis).
11186
Commissioned 1819, completed 1820, paid
11187
for 1823 (RA I.edger, p. 98). Colebrook was
11188
President of the Court of Appeal at Calcutta
11189
and a noted scholar of Sanskrit.
11190
@@PROCESS
11191
695. Henry COWPER ( 1758-1840)
11192
70.4 cms. (height, including soclc); 14.3 cms.
11193
(height of soclc)
11194
Uncleancd. Slightly flaking. Small perforation in
11195
rear of soclc. Name painted on soclc.
11196
Chantrcy rift, no. 31; Ijmc Poolc, no. 543.
11197
Marble in the Victoria and Albert Museum.
11198
Commissioned 1823, completed and paid for
11199
1827 (RA Ledger, p. 165). Cowpcr wias Clerk
11200
of the House of I.ords.
11201
@@PROCESS
11202
696. John Philpot CURRAN
11203
(1750-1817)
11204
56.7 cms. (height, including socle); 11.7 cms.
11205
(height of soclc)
11206
Uncleancd. Socle repaired and refixed by Kathlecn
11207
Kimber and flakcd areas touched in by Christine
11208
Gormley in Scptembcr 1989.
11209
@@PROCESS
11210
697 Chantrey Sft, no. 32; former paper label, no. 42;
11211
Lenc Poole, no. 544.
11212
Exhibited Royal Academy 1812 (no. 898).
11213
Curran was Master of the Rolls in Ireland.
11214
Lent to the National Trust, Belton House,
11215
Iincolrishire, December 1989.
11216
@@PROCESS
11217
697. Sir William CURTIS Bt.
11218
(1752-1829)
11219
77.8 cms. (height, including soclc); 13.8 cms.
11220
(height of soclc)
11221
Uncleancd. Flaking in a small area of proper left
11222
temple. Name painted on soclc.
11223
Chantrey dft, no. 33; paper label, no. 44; I.anc
11224
Poolc, no. 545.
11225
Commissioncd 1827, paid for 1828,
11226
completed 1829 (RA Ledger, p. 189).
11227
Exhibited at the Royal Academy 1828 (no.
11228
1170). Curtis was I,ord Mayor of I.ondon.
11229
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
11230
@@PROCESS
11231
698. John DALTON DCL
11232
(1766-1844)
11233
61.2 cms. (height, including soclc); 11.9 cms.
11234
(height of socle)
11235
Unclcaned. Crack between soclc and bust rcpalrcd.
11236
Chip on proper right shoulder. Small chips on sides
11237
of chest, also on proper left car. Minor flaking and
11238
chips touched in by Christine Gormley in
11239
Septcmbcr 1989. Name painted on soclc (`)
11240
DALTON D.C.L.'). `DR. DALTON' is incised in the
11241
model in the lower cdgc of the chest and `Chantrey.
11242
1834' is incised in the model on the back.
11243
Chantrey Sft, no. 34 former paper label, no. 24;
11244
I.are Poolc, no. 546.
11245
A version in ivory 22 cms. high signed
11246
`Chantrey Fect. Chevcrton SC' was lot 77,
11247
Phillip's, Ilondon, 26 November 1985. For
11248
Dalton see No. 631.
11249
Lent to the National Trust, Belton House,
11250
Lincolnshire, December 1989.
11251
@@PROCESS
11252
699. Admiral Sir John Thomas
11253
DUCKWORTH Bt. (1748-1817)
11254
69.8 cms. (height, including socle); 11.8 cms,
11255
(heightofsocle)
11256
Uncleaned. slight flaking. Small chip on the back
11257
of the base, and on the front ofthc upper moulding
11258
of the socle. Name palntcd on soclc.
11259
Chantrey Sft, no. 38; lane Poole, no. 550.
11260
Marble forms part of monument to Admiral
11261
Duckworth in Topsham Church, Devon, but
11262
adjusted awkwardly to term format,
11263
surrounded with a clumsy trophy, and
11264
surmounting a lively relief of a sea battle.
11265
Commissioned 1817, completed and paid for
11266
1820 (RA I.cdger, p. 77). A bust of
11267
Duckworth was exhibited by Chantrey at the
11268
Royal Academy in 1811 (no. 939). It was
11269
presumably the one of George Duckworth
11270
employed on his monument in the same
11271
church.
11272
@@PROCESS
11273
700. Robert DUNDAS of Arniston
11274
(1758-1819)
11275
65,8 cms. (height including socle); 10.8 cms.
11276
(height of socle)
11277
Uncleaned. Some flaking to drapery and nose and
11278
missing chip from the front of the socle retouched
11279
by Christine Gormley, September 1989. Name
11280
painted on socle (`DUNDAS, LD. CF BARON OF
11281
SCOTIAND').
11282
Chantrcy gift, no. 39; hanc Poole, no. 551.
11283
Marble in Arniston House, Midlothian, dated
11284
1817. Commissioned 1817, completed
11285
1818, paid for 1819 (RA Ledger, p. 43),
11286
cxhibitcd Royal Academy 1817 (no.1051).
11287
The work exhibited may have been this plaster
11288
and a commission for the marble only
11289
received later in the same year. Dundas was
11290
Lord Chief Baron of the Exchequer of
11291
Scotland. See also No. 634.
11292
I.ent to the National Trust, Belton House,
11293
Lincolnshire, December 1989.
11294
@@PROCESS
11295
701. Probably Thomas Dundas,
11296
lst Baron DUNDAS of Aske
11297
( 1741-1820)
11298
68.I cms. (height including socle); 13.3 cms.
11299
(height of soclc)
11300
Unclcaned. Extensive flaking. Small chip on front
11301
base of soclc. Touched in by Christine Gormley,
11302
September 1989. Name painted on socle (`LD
11303
DUNDAS').
11304
Chantrey 5ft, no. 41; IAnc Poolc, no. 553.
11305
Marble at Aske Park, RIchmond, dated 1820.
11306
Another at Wcntworth Woodhouse,
11307
Yorkshire, dated 1824. Commissioncd 1819,
11308
paid for 1820 (RA I.cdgcr, p. 112).
11309
I.cnt to the National Trust, Belton House,
11310
Lincolnshire, December 1989.
11311
@@PROCESS
11312
702. James DUNLOP (d.1832.>)
11313
72.7 cms. (height including socle); 14.2 cms.
11314
(height of socle)
11315
UncleaLned. Extensive flaking, chiefly to head and
11316
neck. Name painted on socle.
11317
Chantrey Sft, no. 42; paper label, no. 50; I.ane
11318
Poolc, no. 554.
11319
Commissioned 1836, completed 1840, paid
11320
for 1841 (RA Ledger, p. 281), exhibited
11321
Royal Academy 1841 (no. 1327). I,ane Poole
11322
identified the sitter as James Dunlop who
11323
died in the autumn of 1841 but the bust was
11324
described as posthumous when exhibited
11325
earlier that year at the Royal Academy. It
11326
might be a portrait of Lieutenant-General
11327
James Dunlop who died in 1832 although, if
11328
so, it is surprising that his rank is not given
11329
in either the ledger or the Academy catalogue.
11330
@@PROCESS
11331
703. Mr EGERTON (d. c.1828)
11332
76.3 cms. (height, including socle); 13.5 cms.
11333
(height of socle)
11334
Uncleancd. Some flaking. A break between soclc
11335
and bust repaired. Name painted on socle (`Mr
11336
Egerton').
11337
Chantrey dft, no. 44; I.anc Poole, no. 556.
11338
Tentatively identified as a bust of Charles
11339
Chandler Egerton (1798-1885), surgeon to
11340
the Calcutta Hospital, by lane Poole, but he
11341
looks like an older man. No commission for
11342
a bust of any Egerton is recorded in the RA
11343
@@PROCESS
231
11345

                
11346
APPENDIX I PLASTER CASTS FROM THE STUDIO'OF SIR FRANCIS CHANTREY
11347
@@PROCESS
11348
232
11349
@@PROCESS
11350
704
11351
Ledger but there is a monument to a Mr
11352
Egerton commissioned in 1828 and
11353
completed in the following year which may
11354
well have incorporated a bust.
11355
@@PROCESS
11356
704. George O'Brien Wyndham, 3rd
11357
carl of EGREMONT ( 1751-1837)
11358
75.4 cms. (height, including socLe); 13.I cms.
11359
(height of socle)
11360
Unclcaned. Flaking on head. The shoulder and
11361
chest to proper right broken off and lost. Name
11362
painted on soclc.
11363
Chantrey dft, no. 45; Idnc Poole, no. 557.
11364
Commissioned May 1829, completed and
11365
paid for 1831. Egremont was among the
11366
leading collectors and patrons of modern
11367
British art.
11368
@@PROCESS
11369
705. Mountstuart ELPHINSTONE
11370
(1779-1859)
11371
62.3 cms. (height, including socle); 12.3 cms.
11372
(height of socle)
11373
Uncleaned. Very little flaking. large chip missing
11374
from base of soclc to proper right. Touched in by
11375
Kathlecn EGmbcr September 1989. Name painted
11376
on soclc.
11377
Chantrey Sft, no. 46; Ijanc Poole, no. 558. For
11378
Elphinstonc see No. 636.
11379
Lent to the National Trust, Belton House,
11380
Lincolnshire, December 1989.
11381
@@PROCESS
11382
706. Sir Henry Charles
11383
ENGLEFIELD FSA, FBS
11384
(1752-1822)
11385
52 cms. (height)
11386
Cleaned and repaired and shellac rcnewcd by Rachel
11387
Kcnward. A hairline crack runs from the proper left
11388
shoulder to the proper right collarbone. Points
11389
visible, mainly on the head. `CHANTREy/
11390
scuLPTOR/1818' incised in the model to proper
11391
left side of hcrm. The sittcr's monogram (HC and
11392
E interlaced) is incised in the model in the lower,
11393
chamfcred, portion of the draped front of the chest.
11394
Chantrey aft, no. 48; lane Poole, no. 560.
11395
Marble in the Cleveland Museum of Art,
11396
Ohio (78.22), is slightly larger and has a more
11397
distinctly chamfcred treatment to the base of
11398
the chest. Commissioncd 1818, completed
11399
1820 (RA Ijedger, p. 71) but the marble
11400
dated 1818. Englcfield was an antiquary and
11401
collector.
11402
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
11403
@@PROCESS
11404
707. Sir Charles I.ong, I.ord
11405
FARNBOROUGH ( 1760-1838)
11406
74.6 cms. (height, including soclc); 13.4 cms.
11407
(height of socle)
11408
Cleaned by Rachel Kcnward. Points visible. A
11409
vertical crack, from the proper right shoulder into
11410
the neck. Name formerly painted on soclc.
11411
Chantrey 5ft, no. 49; I.ane Poolc, no. 561.
11412
Marble, dated 1820, in the National Portrait
11413
Gallery (2090). A repetition in the National
11414
Gallery dated 1836, given by a descendant of
11415
I,ong. RA Ledger records the latter (p.
11416
@@PROCESS
11417
258 )-ommissioncd 1833, completed
11418
1834, paid for 1842. Farnborough was
11419
Paymaster General, a notable connoisseur and
11420
collector who became art adviser to Gcorge
11421
IV and a trustee of both the British Museum
11422
and National Gallery.
11423
@@PROCESS
11424
708. John FULLER MP
11425
( 1757-1834)
11426
74.9 cms. (height, including scrolled plinth);
11427
13,3 cms. (height of scrolJcd plinth)
11428
Uncleaned. Slightly flaking on the drapery. Name
11429
painted on lower corner of scrolled plinth to proper
11430
left (`j. FULLER Esq. M.P.').
11431
Chantrey aft, no. 51; paper label, no. 28; I.ane
11432
Poole, no. 563.
11433
Marble serves as part of the monument in
11434
Brightling Parish Church, Sussex (the frame
11435
by H. Rouw). A bust of Fuller was exhibited
11436
at the Royal Aca.deny in 1820 (no. 1048).
11437
The bust of him commissioned 1834,
11438
complcted and paid for 1835 (RA Ledger, p.
11439
@@PROCESS
11440
263), was presumably a repetition. I.are
11441
Poole wrongly identified the sitter as a Fuller
11442
who died in 1839. The unusual scrolled plinth
11443
must be connected with its sepulchral setting
11444
for which, however, it was not adopted. Fuller
11445
was known as `Mad Jack Fuller'. He was an
11446
eccentric, a collector and a builder of follies.
11447
@@PROCESS
11448
709. King GEORGE IV
11449
(1762-1830)
11450
82.8 cms. (height, including socle); 14.1 cms.
11451
(height of socLe)
11452
Coated with whitewash, now very grubby.
11453
Chantrey aft, no. 53; I.one Poole, no. 565.
11454
Marble versions are at Chatsworth (dated
11455
1822), the Royal College of surgeons (dated
11456
1823), and elsewhere. The earliest version
11457
seems to have been made for the king himself
11458
in 1821-2 may be that in the Royal Pavilion,
11459
Brighton. One in Windsor Castle is dated
11460
1828 and one in Buckingham Palace is dated
11461
1837. One version was cxhibitcd at the Royal
Academy in 1822 (no. 988).
11463
AI'I'ENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
11464
@@PROCESS
11465
234
11466
@@PROCESS
11467
710. Sir Henry HALFORD Bt. MD
11468
(1766-1844)
11469
71.5 cms. (height, including socle); 13.7 cms.
11470
(hcightofsor:le)
11471
Unclcaned. Slight flaking. Chipped around back at
11472
junction of socle and bust which is repaired but
11473
loose. Name painted on socle.
11474
Chantrey tift, no. 57; I.anc Poole, no. 569.
11475
Marble, dated 1825, in the Royal College of
11476
Physicians, Ijondon. Commissioned 1824,
11477
completed and paid for 1825 (RA Ledger, p.
11478
@@PROCESS
11479
169). Halford was Physician to the Middlesex
11480
Hospital, Physician extraordinary to king
11481
George Ill, and Prcsidcnt of the Royal
11482
College of Physicians. He was the most
11483
eminent member of his profession in I.ondon
11484
in the early years of the nineteenth century.
11485
@@PROCESS
11486
711. Sir chdrew Snape IIAMOND
11487
Bt. (1738-1828)
11488
62.5 cms. (height including socle); 10.6 cms.
11489
(height of soclc )
11490
Unclcancd. Some flaking on head and neck.
11491
Touched in by Kathlcen Kimber. September 1989.
11492
Name painted on socle.
11493
Chantrey dft, no. 58; former paper label, no. 123;
11494
I.ane Poole, no. 570.
11495
Marble dated 1820 noted by Gunnis as in
11496
`private possession'. Commissioned 1818,
11497
completed 1820 (RA Ledger, p. 82), and
11498
exhibited Royal Academy 1821 (no.1139).
11499
Hamond was Comptroller of the Navy.
11500
Lent in December 1989 to the National
11501
Trust, Belton House, Lincolnshire.
11502
@@PROCESS
11503
712. Revd William Vernon
11504
HARCOURT FRS (1789-1871)
11505
80.0 cms. (height, including soclc); 13.2 cms.
11506
(height of socle)
11507
Unclcaned. A large but superficial chip missing from
11508
the proper right shoulder. Name painted on socle.
11509
Chantrey ctft, no, 59; paper label, no. 89; I.ane
11510
Poole, no. 571.
11511
Marble, formerly Philosophical Society, York,
11512
now City Art Gallery, York, d'ated 1832.
11513
Commissioned 1831, completed and paid for
11514
1833 (RA Ledger, p. 242). Harcourt, a
11515
@@PROCESS
11516
711 philanthropist, educationalist, and scientist,
11517
was the first president and virtual founder of
11518
the British Association. A miniature version
11519
of the bust (marble, 21.8 cms. high) is in a
11520
private collection (photograph in the Conway
11521
Library).
11522
@@PROCESS
11523
713. Charles IIATCHETT FBS
11524
(1765.>-1847)
11525
61.7 cms. (height)
11526
Uncleaned. A large chip is missing from the proper
11527
right side at the base. Name painted on plinth below
11528
chest. `Hatchctt/1820/F. Chantrey S.' incised in
11529
the model in bold cursive letters on the proper
11530
right side of the hem.
11531
Chantrey Sft, no. 60; I.anc Poole, no. 572.
11532
Commissioned 1820 (RA Ledger, p. 102).
11533
No date for completion is recorded but the
11534
bust was paid for. Hatchett was a chemist.
11535
@@PROCESS
11536
714. Reginald HEBER, bishop of
11537
Calcutta ( 1783-1826)
11538
71.8 cms. (height, including socle); 14,3 cms.
11539
(height of socle)
11540
Uncleancd. Socle chipped on base to proper right.
11541
Name painted on sacle.
11542
Chantrcy rift, no. 61; Ijane Poolc, no. 573.
11543
The Royal Academy Ledger records no
11544
commission for a bust. The explanation may
11545
be that this is rather a fragment of a projected
11546
statue separately cast and mounted as a bust
11547
by the sculptor-that would explain the lack
11548
of compositional interest in the drapery. For
11549
Heber see also Nos. 642, 643.
11550
@@PROCESS
11551
715. William HENRY ( 1774-1836)
11552
74.5 cms. (height, including socle); 14.2 cms,
11553
(height of socle)
11554
Unclcaned. Much flaking. A break at the back of
11555
the bust above the junction with the soclc. Name
11556
painted on socle (`HENRy M.D.'),
11557
Chantrey rift, no. 64; socle label, no. 47; I.ane
11558
Poole, no. 576.
11559
Commissioncd 1836 and paid for 1842 (RA
11560
Iledger, p. 279). The dates suggest that the
11561
bust was completed posthumously. It was
11562
commissioncd by the Manchester Literary
11563
and Philosophical Society. lame Poole's
11564
suggestion that the sitter was Dr James
11565
Henry, a physician in Dublin ( 1798-1876),
11566
seems unlikely in view of the age and
11567
Mancunian connection. It must represent
11568
William Henry, chemist, of Manchester.
11569
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
11570
ET=iHE
11571
@@PROCESS
11572
716. Colonel Charles HERRIES
11573
(1745-1819)
11574
56.7 cms. (height)
11575
Unclcaned. Slight flaking at nose. hargc chip
11576
missing from base at rear and a superficial chip
11577
missing from the coat lapel to proper left. Name
11578
painted in chamfered area of base of chest to proper
11579
left. `Coloncl Herries/Chantrey ft 1822' is incised
11580
in a cursive hand in the model across the back.
11581
Chantrey gift, no. 65; socle label, no. 4; Ime Poole,
11582
rro.i;fl7 .
11583
The marble is part of the monument to
11584
Herries in Westminster Abbey. A plaster cast
11585
after the marble was lot 223, Sotheby's,
11586
Ijondon, 2 April 1985. The monument was
11587
commissioned in 1819 and completed in
11588
1822 (RA Ledger, p. 106). I.ane Poole
11589
conjectured that `Herries' was perhaps Licut. -
11590
7]5 Col. William Lewis Herries. Charles Hcrries
11591
was a colonel in the h)ndon and Westminster
11592
I.ight Horse Volunteers.
11593
@@PROCESS
11594
717. Francis Seymour-Conway, 2nd
11595
marquess of HERTFORD
11596
(1743-1822)
11597
23.6 cms. (height of socle)
11598
Uncleaned. The base is broken into four picccs. A
11599
fragment of the chest is missing, (The photograph
11600
show the pieces rcassemblcd. ) Thcrc is slight
11601
flaking. There arc chips missing and scratches at
11602
edges of breaks. also on the base of the soclc and
11603
on the nose. Name painted on socle.
11604
Chantrey rift, no. 66; paper label, no. 88; I.ane
11605
Poolc, no. 578.
11606
Bust and monument commissioned 1822;
11607
@@PROCESS
11608
716 bust delivered and paid for l825 (RA Ledger,
11609
p. 152). See No. 644.
11610
@@PROCESS
11611
717
11612
@@PROCESS
11613
718. Sir Benjamin HOBHOUSE Bt.
11614
MP (1757-1831)
11615
68.4 cms. (height, including socle); 12.8 cms,
11616
(height of socle)
11617
Unclcancd. Slight flaking. Touched in by Christine
11618
Gormley, September 1979, and socle repaired by
11619
Kathleen Kimbcr. Nanc painted on soclc.
11620
Chantrey dft, no, 69; paper label, no. 49; I.anc
11621
Poole, no. 581.
11622
Commissioned by the West of England
11623
Society for the Promotion of Agriculture
11624
1818, completed 1819 (RA Ledger, p. 87)
11625
and exhibited Royal Academy 1819 (no.
11626
1222).
11627
I,ent to the National Trust, Belton House,
11628
I.incolnshirc, in December 1989.
11629
@@PROCESS
235
11631

                
11632
APPENDIX I PLASTER CASTS FROM THE STUDIO 0F SIR FRANCIS CHANTREY
11633
@@PROCESS
11634
718
11635
@@PROCESS
11636
236
11637
@@PROCESS
11638
719. Sir Everard HOME Bt.
11639
(1756-1832)
11640
69.7 cms. (height, including soclc); 10.8 cms.
11641
(height of socle)
11642
Uncleaned. Slight flalcing, most obvious on the
11643
nose. Touched in by Christine Gormley, September
11644
1979. Name palntcd on socle.
11645
Chantrey tlft, no. 70; former paper label, no. 52;
11646
I.ane Poole, no. 582.
11647
Marble in the Royal College of surgeons,
11648
I,ondon, dated 1816. Exhibited at the Royal
11649
Academy 1816 (no. 935).
11650
I.cnt to the National Trust, Bclton House,
11651
hincolnshire, in Dcccmber 1989.
11652
@@PROCESS
11653
720. Francis HORNER MP
11654
(1778-1817)
11655
57.5 cms. (height, including socle); 10.5 cms.
11656
(height of socle)
11657
Uncleancd. Name painted on socle.
11658
Chantrey Sft, no. 71; former label on soclc, no.
11659
86; hic Poole, no. 583.
11660
Marble versions at National Portrait Gallery,
11661
Edinburgh, dated 1818, and the Ackland Art
11662
Museum, University of North Carolina at
11663
Chapel Hill, dated 1820, also cxhibitcd at
11664
the Heim Gallery, I,ondon, autumn 1972
11665
(Paintings and Sculptures 1770-1830). F.rlst
11666
commission given 1817, completed 1818 (RA
11667
I.edger, p. 61), and exhibited Royal Academy
11668
1818 (no. 1075, as posthumous). For Homer
11669
see also No. 648.
11670
I.cnt to the National Trust, Bclton House,
11671
hincolnshire, December 1989.
11672
@@PROCESS
11673
721. Wihian HOWLEY, archbishop
11674
of Canterbury ( 1766-1848)
11675
56.2 cms. (height)
11676
Clcancd and shellac rcncwed by Rachcl Kenward.
11677
Chips missing at back comer to proper right and
11678
made up at back comer to proper left. Numerous
11679
points visible. Vestiges of name formerly paintcd
11680
on lower part of chest to proper left.
11681
Chantrey dft, no. 73; ILanc Poole, no. 585.
11682
Marble, dated 1821, in the Paul Mellon
11683
Center, Yale University. Another with the
11684
same date in Canterbury Cathedral library. A
11685
plaster cast is in I.ambeth Palace.
11686
@@PROCESS
11687
722. David HUME (1757-1838)
11688
73.7 cms. (height, including soclc); 13.7 cms.
11689
(height of soclc)
11690
Uncleaned. Nose broken off, rcfixcd, and rebroken.
11691
Chantrey Sft, no. 74; paper label, no. 63; Irdnc
11692
Poole, no. 586.
11693
Marble in the Sessions House, Edinburgh,
11694
dated 1832. Commissioned 1827, completed
11695
1832, paid for 1834 (RA I.edger, p. 203).
11696
Hume was Baron of the Scottish Exchequer.
11697
@@PROCESS
11698
723. John HUNTER ( 1728-93)
11699
66.7 cms. (height, including soclc); 13.4 cms.
11700
(height of soclc)
11701
Unclcaned. Widespread flaking. Large loss on
11702
proper right side of the socle; a smaller loss on the
11703
proper left side.
11704
Chantrey gift, no. 75; I.anc Poolc, no. 587.
11705
Marble in the Royal Collcgc of surgeons
11706
dated 1820. Hunter was one of the foremost
11707
anatomists of his day.
11708
@@PROCESS
11709
724. John IREIAND, dean of
11710
Westminster ( 1761-1842)
11711
72 cms. (height, including socle); 14.2 cms.
11712
(height of socle)
11713
Uncleancd. Shightly flaking on nose and drapery. A
11714
large break on the base of socle. Name painted on
11715
socle ( `Ireland Dean ofwcstminstcr' ).
11716
Chahtrey aft, no. 77; paper label, no. 18; I,ane
11717
Poole, no. 589.
11718
The marble, dated 1829, was presented to
11719
the University of oxford on 8 December
11720
1831 by the sitter and is in the Examination
11721
Schools, fomerly in the Bodleian Library.
11722
@@PROCESS
11723
725. Thomas JOHNES MP, FRS
11724
(1748-1816)
11725
70 cms. (height, including socle); 13.3 cms.
11726
(height of socle)
11727
Unclcancd. Slight flaking and small chips touched
11728
in and a large loss in the socle rcpaircd by Kathlecn
11729
RImber in November 1989. Name painted on socle.
11730
Chantrey dft, no. 79; I.ane Poole, no. 591.
11731
Marble previously on loan to the Victoria and
11732
Albert Museum, now in the National
11733
Museum of wales. Commissioned,
11734
completed, and paid for 1811 (RA Ledger,
11735
p. 74), and exhibited Royal Academy 1812
11736
(no. 894). The ledger records that eight
11737
plaster casts were sold to Johncs in addition
11738
to the marble bust. Johnes, the builder of
11739
Hafod, Cardigan, was an antiquary and a
11740
noted collector and patron of art.
11741
I.ent in December 1989 to the National
11742
Trust, Belton House, Lincolnshire.
11743
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
11744
@@PROCESS
11745
726. Edward JOHNSTONE (dates
11746
unknown)
11747
72.7 cms. (height, including socle); 12.6 cms.
11748
(height of soclc)
11749
Uncleancd. Flaking in several areas. Damaged 1984
11750
by a falling packing case and repaired. Some minor
11751
losses along the vertical repair from chest to neck.
11752
A large chip missing from the hair to proper right.
11753
The name painted on the socle.
11754
Chantrey dft, no. 80; lane Poole, no. 592.
11755
Marble in the City Museum and Art Gallery,
11756
Birmingha.in, dated 1819. Commissioned
11757
1818, exhibited Royal Academy 1819 (no.
11758
1204), paid for 1826 (Potts, no. 23). The
11759
sitter was an illegitimate son of the marquess
11760
72l(b) ofwcllesley (brother ofthc duke of
11761
Wellington) and not, as I.ane Poolc supposed,
11762
the Edinburgh physician.
11763
@@PROCESS
11764
727. Walter KING, bishop of
11765
Rochester ( 1755.>-1827)
11766
52.7 cms. (height)
11767
Uncleancd. Slight flaking near lower cdgc. Chips
11768
missing from comers and on proper left ear. Name
11769
painted on front of bust to proper left (.King BP
11770
ofRochestcr').
11771
Chantrey Sft, no+ 82; paper label, no. 67; I,ane
11772
Poolc, no. 594.
11773
Exhibited Royal Academy 1821 (no.1136)
11774
and eventually incorporated in the
11775
monument to King in Rochcstcr Cathedral-but
11776
a bust dated 1821 is also recorded in the
11777
Diocesan House, Rochester.
11778
@@PROCESS
11779
728. Revd Alexander MACKENZIE
11780
(d. 1817)
11781
59.3 cms. (height, including soclc); 9.9 cms.
11782
(height of soclc)
11783
@@PROCESS
11784
724 Uncleaned. Extcnsivc flaking. Vestiges of name on
11785
socle (`Mackcnzic.). Touched in by Kathlecn
11786
Kimbcr in October 1989.
11787
Chantrey dft, no. 84; paper label, no. 66; I,ane
11788
Poole, no. 596.
11789
Marble serves as monument to the Revd
11790
Alexander Mackenzic in St Paul's Church,
11791
Sheffield. Commissioned 1817, completed
11792
1818 (RA Ledger, p. 51).
11793
Lent to the National Trust, Belton House,
11794
Lincolnshire, in December 1989.
11795
@@PROCESS
237
11797

                
11798
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
11799
@@PROCESS
11800
729. Sir John MALCOLM Bt. GCB
11801
(1769-1833)
11802
79.4 cms. (height, including soclc); 12.8 cms.
11803
(height of socle)
11804
Uncleancd. Slight flaking, mostly on socle. Name
11805
painted on soclc.
11806
Chantrey Sft, no. 85; lane Pcole, no. 597.
11807
Commissioned 1839, complctcd 1840 ( RA
11808
Ijcdger, p. 302). Malcolm was a noted
11809
diplomat and administrator in India. Hc was
11810
a govcmor of Bombay. See No. 651.
11811
@@PROCESS
11812
730. Andrew Maconochic, 2nd I.ord
11813
MEADOWBANK(1777-186l)
11814
71.6 cms. (height, including soclc); 13.2 cms.
11815
(heightofsaclc)
11816
Unclcancd. Slight flaking to edge of draperies.
11817
Name palntcd on socle.
11818
Chantrey dft, no. 87; paper label, no. 17; Irme
11819
Poolc, no. 599.
11820
Commissioncd 1834, completed 1838 (RA
11821
Ledger, p. 288).
11822
@@PROCESS
11823
731. Wihiam I,amb, 2nd Viscount
11824
MELBOURNE ( 1779-1848)
11825
83.2 cms. (height, including soclc); 13.2 cms.
11826
(height of soclc)
11827
Uncleancd. Flaking, cspccially to dra.pery and
11828
forchcad.
11829
Chantrcy 5ft, no. 88; paper label, no. 54; hoe
11830
Poolc, no. 600.
11831
Marble at Windsor Castle dated 1841.
11832
Commissioncd by the queen 1839 (RA
11833
I.cdger, p. 300). Mclboume was Whig Prime
11834
Minister in 1834 and again 183541. He was
11835
also political mentor to the young Queen
11836
Victoria.
11837
@@PROCESS
11838
732. Henry Dundas, lst Viscount
11839
MELVILLE(1742-18ll)
11840
85.5 cms. (height, including plinths); 21.6 cms.
11841
(height of plinths)
11842
Unclcancd. Flaking, mostly on head, hair, and neck.
11843
Name painted on proper left side of front face of
11844
lower plinth.
11845
Chantrey dft, no. 89; Imc Poolc, no. 601.
11846
Commissioned 1830, completed 1832 (RA
11847
I,edger, p. 229). Melville was a prominent
11848
Tory Statesman. The plinth suggests a
11849
sepulchral setting.
11850
@@PROCESS
11851
238
11852
@@PROCESS
11853
731
11854
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
11855
@@PROCESS
11856
733. Professor William H. MILL
11857
(1792-1853)
11858
73.4 cms. (height, including socle); 12.6 cms.
11859
(height of socle)
11860
Unclcancd. Some flaking. A recent break to the
11861
upper part and the soclc and to its base to lower
11862
left. A crack at the junction of bust and socle
11863
repaired but loose. Name palntcd on socle (`Rcvd
11864
Dr MILL).
11865
Chantrey gift, no. 90; paper label, no. 99; I.are
11866
Poolc, no. 602.
11867
Commissioncd by the Asiatic Society,
11868
Calcutta, 1839, completed and paid for 1840
11869
(RA Ledger, p. 293), exhibited Royal
11870
Academy 1840 (no.1198, specified as
11871
marble). Mill was Regivs Professor of Hebrew
11872
at the University of Cambridge.
11873
@@PROCESS
11874
734. James MORRISON MP
11875
(1790-1857)
11876
78+7 cms+ (height, including soclc); 12.8 cms.
11877
(height of socle)
11878
Whitewashed, cxccpt for socle. Whitewash now
11879
gmbby.
11880
Chantrey ctft, no. 91; paper label, no. 31(?); Lane
11881
Poole, no. 603.
11882
Completed 1837 (RA Ledger, p. 289);
11883
exhibited Royal Academy 1842 (no. 1409,
11884
specified as marble).
11885
@@PROCESS
11886
735. Revd Zachay MUDGE
11887
(1694-1769)
11888
71.5 cms. (height)
11889
Uncleaned. Flaking scvcrely. Name painted on
11890
lower part of chest.
11891
Chantrey dft, no. 92; I.ane Poole, no. 604.
11892
The marble forms part of a monument in St
11893
Andrew's Church, Plymouth. It is based on
11894
the portrait by Reynolds. Commissioncd
11895
1825, completed 1830 (RA Ledger, p. 179).
11896
@@PROCESS
11897
736. Miss MUNDY
11898
66.2 cms. (height, including socle); 12.7 cms.
11899
(height of socle)
11900
Uncleaned. Slightly flaking, mostly in the hair. An
11901
unusually red shellac on the face and neck. A crack
11902
at the junction of bust with soclc has bccn rcpalred.
11903
Touched in by Kathleen Kimbcr, October 1989.
11904
Vestiges of name painted on soclc ( `Miss M . . . dy' ).
11905
Chantrey Sft, no. 93; soclc label, no. 6; lane Poole.
11906
no. 605.
11907
Commissioncd 1825; completed 1826 (RA
11908
Ledger, p. 182). I.ane Poole conjectured that
11909
this might be either Laura (who died in 1842)
11910
@@PROCESS
11911
239
11912
or Emily (who died in 1839), the daughters
11913
of Frances Mundy of Markeaton, Derby.
11914
Lent to the National Trust, Bclton House,
11915
I.incolnshire, December 1989.
11916
@@PROCESS
11917
737. Sir Thomas MUNRO Bt.
11918
(1761-1827)
11919
67.2 cms. (height)
11920
Uncleaned. I.argc chip on lower corner of chest to
11921
proper left. Na.mc palntcd on chamfered pordon
11922
of lower part of chest.
11923
Chantrey ctft, no. 94; socle label, no. 126; Lane
11924
Poole, no. 606.
11925
Exhibited at the Royal Academy 1840 (no.
11926
1190, specified as marble). The bust served
11927
as a model for the head of the colossal statue
11928
commissioncd for Madras. The commission
11929
for the bust seems not to be recorded in the
11930
RA Ledger. Munro was Governor of Madras.
11931
@@PROCESS
11932
738. `Mr MURDOCH'
11933
71 cms. (height, including soclc); 11.8 cms.
11934
(height of soclc)
11935
Uncleaned. Flaking. A fine crackle in the paint. A
11936
large chip missing from the proper right eyebrow.
11937
Chips to the proper left edge of the bust and to the
11938
drapery proper right. Name painted on soclc (`Mr
11939
Murdoch').
11940
Chantrey rift, no. 95; socle Label, no. 34; I.ane
11941
Poolc, no. 607.
11942
I.are Poole conjectured that this might be
11943
William Murdock ( 1754-1839), the pioneer
11944
of gas lighting; a monument to him
11945
incorporating a bust by Chantrey is in
11946
Handsworth Church. The name has, in this
11947
case, been spelled incorrectly on the soclc.
11948
@@PROCESS
11949
739. Joseph NEELD MP (MP
11950
1831-56)
11951
79.5 cms. (height, including socle); 13.2 cms.
11952
(height of socle)
11953
Uncleancd. Flaking. Name painted on soclc.
11954
Chantrey tlft, no. 96; lane Poolc, no. 608.
11955
Marble, dated 1841, formerly at Grittlcton
11956
House, sold Christic's, IJ]ndon, lot 5, 22
11957
September 1966. Commissioned 1837,
11958
completed 1839 (RA Ledger, p. 288),
11959
exhibited Royal Academy 1841 (no. 1325).
11960
Neeld was an inportant patron of English
11961
sculpture in the 1840s and 1850s. He was
11962
the great nephew of the Royal Silversmith
Philip Rundell.
11964
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
11965
@@PROCESS
11966
240
11967
@@PROCESS
11968
740
11969
@@PROCESS
11970
740. Admiral Horatio, lst Viscount
11971
NELSON ( 1758-1805)
11972
93.3 cms. (height)
11973
Unclcaned. A break in the nose (repaired), losscs
11974
to the nostrils and to the hair. Chips missing along
11975
the cdgc of. the base. A vertical crack from the base
11976
to the neck and a diagonal one from the base to
11977
below the shoulder.
11978
Chantrey Sft, no. 97; soclc label, no. 12; I.anc
11979
Poolc, no. 609.
11980
Marble versions in the Royal Collection and
11981
National Portrait Gallery (4309) dated 1835.
11982
Commissioned by William IV in 1833,
11983
completed and paid for 1836 (Potts, no. 9).
11984
@@PROCESS
11985
741. Sir John NICHOLL
11986
(1759-1838)
11987
73.5 cms. (height); 13.5 cms. (height of soclc)
11988
Uncleancd. Extensive flaking. Points visible.
11989
Chantrey Sft, no. 98; Irmc Poole, no. 610.
11990
Marble at Merthyr Mawr, Glamorgan.
11991
Commissioned 1832, completed and paid for
11992
1835 (RA Ledger, p. 248; see also Co#"try
11993
£¢/G (Nov. 1984), 1279). Nicholl was dean
11994
of Arches and a keen amateur scientist.
11995
@@PROCESS
11996
742. Joseph NOLLEKENS RA
11997
@@PROCESS
11998
741 ( 1737-1823)
11999
56.6 cms. (height, including soclc); 8.6 cms.
12000
(height of socle)
12001
Coated with whitewash, now grubby. Superficial
12002
losses to proper right of base of socle.
12003
Chantrey tift, no. 99; Irmc Pcole, no. 611.
12004
Marbles in Woburn Abbey (dated 1818) and
12005
the British Museum (Potts, no. 12).
12006
Commissioncd 1817 and 1818, and
12007
completed 1819 and 1820 (RA Iledger, pp.
12008
46, 63), exhibited 1817 (no. 1038, perhaps
12009
 a plaster) and 1818 (no. 1073, the Wobunl
12010
marble). Nollekens preceded Chantrey as the
12011
leading portrait sculptor in I.ondon and did
12012
much to encourage Chantrey's practice.
12013
@@PROCESS
12014
743. James NORTHCOTE RA
12015
(1746-1831)
12016
26.7 cms. (height from break in the front of`the
12017
neck to the top of the head)
12018
Plaster of Paris treated with sheuac and painted.
12019
The paint, now grey, flaking in parts. Broken across
12020
the neck.
12021
Chantrey dft, no. loo; I.anc Poole, no. 612.
12022
Exhibited Royal Academy 1812 (no. 932).
12023
See No. 652.
12024
APPENDIX I PLASTER CASTS FROM THE STUDIO 0F SIR FRANCIS CHANTREY
12025
@@PROCESS
12026
744. Anne Lucy, Baroness
12027
NUGENT ( 1790-1848)
12028
62.6 cms. (height, including plinth); 7.5 cms.
12029
(heightofpLinth)
12030
Cleaned and recoatcd with shellac by Rachcl
12031
Kenward. Points visible, Name formerly painted on
12032
plinth (`Indy Nugcnt').
12033
Chantrey aft, no. 102 former soclc label, no. 7;
12034
hanc Pcolc, no. 614.
12035
Commissioned 1819, completed 1820, paid
12036
for 1826 (RA Ledger, p. 106), cxhibitcd
12037
Royal Academy 1820 (no. 1047). The Ledger
12038
records the commission as made by I<)rd
12039
Nugent (i.e. George, lst Baron Nugent)
12040
which confirms that the sitter was his wife,
12041
•as hone Poole conjectured. The unusual
12042
termination of the bust is inspired by the so-called
12043
C/#¢.e, a. famous bust portrait in Charles
12044
Townley's collection of antiquities which was
12045
acquired at Townley's death in 1804 by the
12046
British Museum.
12047
@@PROCESS
12048
745. General Sir Denis PACKE
12049
(1772.>-1823)
12050
72 cms. (height)
12051
Uncleaned. A chip missing at the base to proper
12052
left. Unusually red shellac on the face. Name
12053
painted on chamfercd portion at the lower edge of
12054
the chest (`Gcn' Packe') and incised in the model
12055
on the proper left side of the bust.
12056
Chantrey Sft, no. 103; socle label, no. 41; I.one
12057
Pcolc, no. 615.
12058
Commissioned 1826, completed and paid for
12059
1829 (RA Ledger, p. 192).
12060
@@PROCESS
12061
746. `Mr PERKINS'
12062
63.3 cms+ (height, including soclc); 12.2 cms.
12063
(height of socle)
12064
Clcancd (to plaster) by Mohammed Salch. Some
12065
vestiges of shellac remain. Points visible.
12066
Chantrey tlft, no. 104; I.anc Poolc, no. 616.
12067
Commissioned 1819, completed 1820 (RA
12068
Ledger, p. 109). Described in the Chantrey
12069
dft as `Mr Pcrkins, a brewer' and proposed
12070
by I.ane Poolc as Henry Perkins, bibliophile,
12071
a partner in the firm of Barclay, Perkins, &
12072
Co., brewers.
12073
@@PROCESS
241
12075

                
12076
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
12077
@@PROCESS
12078
747. Thomas PHILLIPS RA
12079
(1770-1845)
12080
63.I cms. (height, including soclc); 11 cms.
12081
(height of soclc)
12082
Unclcaned. Some flaking. Touched in, Scptcmber
12083
1989, by Kathlccn Kimbcr. Name painted on soclc.
12084
Chantrey gift, no. 105; I.one Poole, no. 617.
12085
Completed 1816 (RA Ledger, p.11) and
12086
cxhibitcd Royal Academy 1821 (no.1128).
12087
Phillips was a painter, chiefly of portraits, and
12088
Professor at the Royal Academy Schools.
12089
Lent to the National Trust, Belton House,
12090
hincolnshire, December 1989.
12091
@@PROCESS
12092
748. William PITT ( 1759-1806)
12093
78 cms. (height, including soclc); 13.2 cms.
12094
(height of sedc)
12095
Unclcancd. Nose broken off and lost. Old repair,
12096
now loose, at junction of bust with soclc. Name
12097
painted on soclc.
12098
Chantrey aft, no. 106; I+ane Poole, no. 618.
12099
Marble in Pembrokc College, Cambridge,
12100
commissioned 1832, completed and paid for
12101
1833 (RA Ledger, p. 253). Pitt was Tory
12102
Prime Minister 1783-1800. The portrait was
12103
posthumous. See also No. 653. Another
12104
plaster cast is at Cirenccster Park. The bust
12105
is derived from that by Nollckens.
12106
@@PROCESS
12107
749. John PIAYFAIR ( 1748-1819)
12108
70.1 cms. (height, including socle); 13.8 cms.
12109
(height of soclc)
12110
Uncleaned. Flaking. Touched in by Kathlecn
12111
RImber October 1989. Name painted on soclc
12112
(`Professorplayfur').
12113
Chantrey tift, no. 108; soclc label, no. 70; Lane
12114
Poole, no. 620.
12115
Marble in the Old Library, Edinburgh
12116
University. Commissioned 1812, completed
12117
and paid for 1815 (RA Ijedger, p. 22),
12118
exhibited Royal Academy 1814 (no. 782).
12119
Playfair was Professor of Natural Philosophy
12120
at Edinburgh University and a Fellow of the
12121
Royal Society.
12122
Lent to the National Trust, Belton,
12123
I.incolnshire, December 1989.
12124
@@PROCESS
12125
750. Richard PORSON
12126
(1759-1808)
12127
61.4 cms. (height)
12128
Cleaned and recoatcd with shellac by Rachel
12129
Kcnward. Points visible. Superficial chips missing
12130
from the drapery to proper right and along the front
12131
edge. Na.mc formerly painted on the proper right
12132
side of rcccssed base of bust ( `Professor Porson').
12133
Chantrey sift, no. 109; I.ane Poole, no. 621.
12134
@@PROCESS
12135
242
12136
The marble is incorporated in the monument
12137
in the antechapel of Trinity College,
12138
Cambridge. Porson was Rcgivs Professor of
12139
Greek at Cambridge and one of the greatest
12140
philolodsts of his day.
12141
@@PROCESS
12142
751. John RENNIE (1761-1821)
12143
78.5 cms. (height, including socle); 15.7 cms.
12144
(height of soclc including tablet)
12145
Uncleaned. Extensive flaking. Chips missing from
12146
proper right edge of bust. Name painted on socle.
12147
Chantrey Sft, no.Ill; I.anc Poolc, no. 623.
12148
Marble in the National Portrait Gallery (649)
12149
dated 1818 with a different style of soclc
12150
(Potts, no. 18). Another with the same date
12151
sold lot 125 at Christie's, Ijondon, 17 July
12152
1984. Commissioned January 1818 (RA
12153
Ledger, p. 58), one version exhibited Royal
12154
Academy 1818 (no. 1072). Rennie was one
12155
of the leading civil cngincers of his day.
12156
@@PROCESS
12157
752. Sir Henry RUSSELL Bt.
12158
(1751-1836)
12159
81.5 cms. (height, including socle); 12.7 cms.
12160
(height of socle)
12161
Uncleancd. Flaking. Small chip on his left eyelid.
12162
Name printed on socle (`Mr Russell').
12163
Chantrey ctft, no.113; socle label, no.121; 1mc
12164
Poole, no. 625.
12165
Commissioncd 1821, completed and paid for
12166
1823 (RA Ledger, p. 143). Russell was Chief
12167
Justice of the Supreme Court in Bengal.
12168
@@PROCESS
12169
753. Admiral John Jervis, Earl ST
12170
VINCENT ( 1735-1823)
12171
63,I cms. (height, including soclc); 10.3 cms.
12172
(height of sorlc)
12173
Uncleaned. Flaking, especially in drapery, forchcad,
12174
and nose. Eyeballs marked with pencil. Vestiges of
12175
nanc painted on soclc.
12176
Chantrey Sft, no. 130; I.ane I'oolc, no. 642.
12177
Commissioned 1815, completed 1816 (RA
12178
Ledger, p. 45 ), exhibited Royal Academy
12179
1816 (no. 949). A bust was also exhibited
12180
Royal Academy 1809 (no. 864)-this might
12181
have been a first version of which the 1815
12182
commission was a replica. St Vincent was one
12183
of the leading admirals of the Napoleonic
12184
War.
12185
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
12186
@@PROCESS
12187
753
12188
@@PROCESS
12189
754
12190
@@PROCESS
12191
756
12192
@@PROCESS
12193
754. Princess I.ouisa Wilhelma
12194
Adelaide of SAIE-lvEIMAR
12195
(1817-32)
12196
66.6 cms, (height, including §ocle); 13.2 cms.
12197
(height of socle)
12198
UncLeaned. Earlobes chipped, most gravely to
12199
proper right. Rfpaircd and touched in by KathJeen
12200
Kimbcr, October 1989. Vestiges of name palntcd
12201
on socle (`Princess . . . of saxc-Wcimar').
12202
Chantrey ctft. no. 116; fomer socle label, no. 9;
12203
I.anc Poolc, no. 628.
12204
Exhibited at the Royal Academy 1833 (no.
12205
1176). The princess was the daughter of
12206
Charles Bemard of saxe-Weimar and Princess
12207
Ida of Saxe-Meiningen.
12208
She died at Windsor Castle.
12209
Lent to the National Trust, Belton House,
12210
I.incolnshire, Dcccmber 1989.
12211
@@PROCESS
12212
755. James SCOTT (1770-1848)
12213
75. I cms. (height, including socle); 13.6 cms.
12214
(height of socle )
12215
Cleaned by Mohanmed Salch. Some shellac
12216
remains. Chips in the socle repaired. Origivally
12217
painted with the name `Scott Esq.' on the soclc.
12218
Chantrey dft, no.118; Ime Poolc, no. 630.
12219
Marble, dated 1833 and inscribed as
12220
presented to John Scott (the sitter's son), in
12221
the Royal College of surgeons. Commenced
12222
1831, completed 1833 (RA Ledger, p. 240).
12223
Potts (no. 20) conjectures that cithcr
12224
Chantrey or his wife had been treated by this
12225
eminent specialist on ulcers and rheumatism.
12226
I.anc Poole misidcntificd the sitter as the
12227
engraver John Scott ( 1774-1827).
12228
@@PROCESS
12229
756. Sir Walter SCOTI`
12230
(1771-1832)
12231
76. I cms. (height, including socLc); 13.4 cms.
12232
(height of soclc)
12233
Uncleaned. Flaking severely. Name printed on
12234
soclc.
12235
Chantrey dft, no. 117; socle label, no. 62.; I.one
12236
Poole, no. 629.
12237
Marbles at Abbotsford (dated 1822),
12238
Stratfield Saye (an autograph replica of the
12239
Abbotsford bust, dated 1826), Draycott
12240
Manor (dated 1828, a second version)-lso
12241
numerous later replicas of the Abbotsford
12242
bust, some probably produced by Chantrey's
12243
studio. The first version commissioned 1821,
12244
completed 1822 (RA Iiedgcr, p. 140),
12245
exhibited at the Royal Academy 1821 (no.
12246
I 133, presumably as a plaster). The second
12247
version (at Draycott, made for Sir Robert
12248
Peel) commenced and completed in 1828.
12249
(Potts, no. 14, discusses all vcrsion§.) The
12250
@@PROCESS
243
12252

                
12253
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
12254
Ashmolean's plaster is from the clay model
12255
for the first version. Scott, one of the most
12256
admired poets and the most popular novelist
12257
in Europe during his lifetime, became a
12258
personal ffiend of the sculptor.
12259
@@PROCESS
12260
757. Granville SIIARP ( 1735-1823)
12261
58.2 cms. (height. excluding socle); 13.6 cms.
12262
(height of soclc)
12263
Uncleaned. Flaking. A chip missing from his hair
12264
above the sitter's right ear. The socle has split in
12265
two owing to the rusting of an iron cramp and has
12266
bccn detached from the bust. Name painted on
12267
soclc.
12268
Chantrey gift, no.119; Lane Poolc, no. 631.
12269
Marble in the Guildhall, I.ondon, destroyed
12270
29 September 1940. Commissioned and
12271
complctcd 1826 (RA I.cdgcr, p. 183). Sharp
12272
was an eminent philanthropist,
12273
@@PROCESS
12274
758. Wihiam SIIARP ( 1749-1824)
12275
59.3 cms, (height, including socle); 11.8 cms.
12276
(height of soclc)
12277
Uncleaned. Slight flaking. A crack at the junction
12278
of bust and socle. Superficial damage to lower cdgc
12279
of chest to proper left. Socle rcpalred and colour
12280
touched in by Kathlccn Kimber, September 1989.
12281
Name painted on soc]c (`Wm. Sharp Engraver' )
12282
and incised in the model in neat capitals on the
12283
lower edge of chest (`Wm. Sharp Eng . . . er'); `F.L.
12284
Chantrey/Sculpt./1813' is incised in a fluent hand
12285
in the model on the back of the neck.
12286
Chantrey Sft, no. 120; socle label, no. 124; I.ane
12287
Poole, no. 632.
12288
Exhibited Royal Academy 1813 (no. 928).
12289
Sharp was a successful engraver.
12290
Lent to the National Trust, Bclton House,
12291
Lincolnshire, December 1989.
12292
@@PROCESS
12293
759. John Raphael SMITH
12294
(1752-1812)
12295
64.6 cms. (height, including socle); 12.4 cms.
12296
(height of socle)
12297
Coated with whitewash, now grubby.
12298
Cha.ntrey aft. no. 121; I.ane Poolc, no. 633.
12299
Marble dated 1825 in the Victoria and Albert
12300
Museum commissioned by Sir Simon Clarke
12301
1824, completed and paid for Dcccmber
12302
1827 (RA Ledger, p. 176), made from the
12303
plaster exhibited at the Royal Academy 1811
12304
(no. 936) (Potts, no. 10). Smith was an
12305
engraver and painter who spotted Chantrey
12306
when he was an apprentice to a frame maker
12307
in Sheffield and subsequently did much to
12308
promote his career in I.ondon.
12309
@@PROCESS
12310
244
12311
@@PROCESS
12312
760. Sir John SOANE RA
12313
(1753-1837)
12314
76.8 cms. (height, including socle); 13.2 cms.
12315
(height of soclc)
12316
Cleaned and rccoated with shellac by Rachcl
12317
Kcnward. Minor chips filled and loose junctions
12318
with soclc repaired. Points visible,
12319
Chantrey dft, no. 122; I.one Poolc, no. 634.
12320
Marble, presented by the sculptor, in Sir John
12321
Soanc museum, I.ondon. Commissioned
12322
1829, completed 1830, exhibited Royal
12323
Academy 1830. Soane was one of the leading
12324
architects of the period. In return for the bust
12325
Soa.ne designed the anteroom to Chantrey's
12326
gallery.
12327
@@PROCESS
12328
761. May SoMERVILLE
12329
(1780-1872)
12330
73.3 cms. (height, including socle); 12,4 cms.
12331
(height of socle)
12332
Superficially cleaned (to plaster). Much shellac and
12333
some paint remains. Points visible. Slight chips
12334
missing from the nose. Name painted on the socle
12335
(`Mrssomervillc').
12336
Chantrey aft, no. 123; I.one Poole, no. 635.
12337
Marble, da.ted 1840, in the Royal Society,
12338
Ilondon. Commissioned 1833, completed
12339
1836 (RA Ledger, p. 261), exhibited Royal
12340
Academy 1837 (no. 1272, specified as
12341
marble), paid for 1842 (Potts, no. 21, with a
12342
full account of the commission). There are
12343
oddities of dating for which several
12344
explanations can be advanced. The
12345
preliminary drawings for the portrait are dated
12346
1832 (before the commission) and the
12347
marble bust although exhibited in 1837 is
12348
dated 1840. Mrs Somervillc was a noted
12349
scientist.
12350
@@PROCESS
12351
762. Robert SOUTHEY
12352
(1774-1843)
12353
73.5 cms. (height, including soclc); 13.5 cms.
12354
(heightofscx:lc)
12355
Cleaned, the old join and shellac renewed by Rachcl
12356
Kcnward. Name formerly painted on socle.
12357
Chantrey gift, no. 124; I.anc Poole, no. 636.
12358
Marble, dated 1832, in National Portrait
12359
Gallery (3956). Commissioncd by John
12360
Murray 1828, completed 1832 (RA Ledger,
12361
p. 213), exhibited Royal Academy 1837 (no.
12362
1271, specified as marble). (Potts, no.15,
12363
discusses the circumstances of this
12364
commission and accounts for the delayed
12365
delivery. ) Southey was made Poet I.aureate
12366
in 1813. Hc was noted for his biographies as
12367
well as his poetry.
12368
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
12369
@@PROCESS
12370
763. George John, 2nd Earl
12371
SPENCER ( 1758-1834)
12372
54.6 cms. (height, including socle)
12373
Uncleaned. Three chips missing from front edge,
12374
two to proper left. Name painted on front cdgc of
12375
chest to proper richt.
12376
Chantrey 5ft, no. 125; I,anc Poolc, no. 637.
12377
Commissioned 1818, completed 1820 (RA
12378
I.edger, p. 72), exhibited Royal Academy
12379
1819 (no. 1216).
12380
@@PROCESS
12381
763 764. Thomas STOTIIARD RA
12382
(1755-1834)
12383
59.5 cms. (including soclc); 9.8 cms. (height of
12384
soclc, including tablet)
12385
Cleaned (to plaster) by Mohammcd Salch. Vestiges
12386
of shellac remain. Points visible in hair. Incised in
12387
neat capitals in the model along the front cdgc
12388
`THOMAS STOTHARD R.A..
12389
Chantrey aft, no. 127; I.anc Poole, no. 639.
12390
Exhibited Royal Academy 1812 (no. 927).
12391
Stothard was a painter, a prolific illustrator,
12392
and a friend of the sculptor.
12393
@@PROCESS
12394
765. Wilhan STRUTT
12395
(1756-1830).
12396
73.5 cms. (height, including socle); 14.3 cms.
12397
(height of socle)
12398
Unclcancd. Extcnsivc flaking especially on face.
12399
Hole in base of socle. Name painted on soclc
12400
(`Strutt,)+
12401
Chantrey gift, no. 128; Lane Poole, no. 640.
12402
Marble, dated 1841, in Derby Museum and
12403
Art Gallery. Commissioned 1835, completed
12404
1840 (RA Ledger, p. 273). Identified by I.ane
12405
Poole as Joseph Strutt, but by Potts (no. 22)
12406
as a posthumous portrait of william of the
12407
sane family. The latter was an industrialist,
12408
philanthropist, economist, and inventor.
12409
@@PROCESS
12410
766. Wmam STUART, archbishop
12411
of inagh ( 1755-1822)
12412
71 cms. (height, including socle); 13.4 cms.
12413
(height of socle)
12414
Unclcancd. The carlobc and the back of the head
12415
to proper right slightly chipped. Name painted on
12416
socle.
12417
Chantrey dft, no. 129; Ime Pcole, no. 641.
12418
Marble in the Victoria and Albcrt Museuni
12419
(A.137-1956). `
12420
@@PROCESS
245
12422

                
12423
APPENDIX I PLASTER CASTS FROM THE STUDIO 0F SIR FRANCIS CHANTREY
12424
@@PROCESS
12425
767. Augustus Frederick, duke of
12426
SUSSEX ( 1773-1843)
12427
81.7 cms. (height, including soclc); 10.7 cms.
12428
(height of soclc)
12429
Uncleancd. Chip at the front of the base of the
12430
soclc. Name painted on soclc (`H.RH. the Duke
12431
of sussex.).
12432
Chantrey aft, no. 132; soclc label, no, 60; I.ane
12433
Poole. no. 644.
12434
Marble in the Frccmason's Hall, I|)ndon.
12435
Commissioned 1829 by the Royal ljodge of
12436
Freemasons, completed 1831 (RA Ledger, p.
12437
@@PROCESS
12438
224), exhibited Royal Academy 1832 (no.
12439
1218). The duke of sussex was the sixth son
12440
of King Gcorgc Ill. He was a Whig in politics
12441
in opposition to the rest of his finily.
12442
@@PROCESS
768. George Granville Levcson-
12444
Gower, 2nd duke of
12445
SUTHERI.AND ( 1786-1861)
12446
75.2 cms. (height, including soclc); 12.4 cms.
12447
(height of socle)
12448
Unclcaned. Slight flaking cspccially in drapery.
12449
Nanc painted on soclc.
12450
Chantrey Sft, no. 133; I.anc Poole, no. 645.
12451
Marble, dated 1829, in the Royal
12452
Hordcultural Society, I.ondon.
12453
Commissioned 1828; exhibited Royal
12454
Academy 1829 (no. 1203, as marquess of
12455
Stafford), paid for 1830 (Potts, no. 25). A
12456
replica was commissioncd by the duchess in
12457
1829 and completed in 1830. This is in the
12458
National Portrait Gallery, I.ondon ( 5597).
12459
The duke was one of the wealthiest men in
12460
Britain.
12461
@@PROCESS
12462
769. Charles Manners SUTroN,
12463
archbishop of Canterbury
12464
(1755-1828)
12465
56,5 cms. (height, excluding socle); 11.6 cms.
12466
(height of sorlc )
12467
Unclcaned. Bust detached ffom soclc which is
12468
broken in two pieces. The nose and proper left
12469
carlobe broken off (fragments survive). Name
12470
palntcd on soclc.
12471
Chantrey aft, no. 134; soclc label, no. 57; hanc
12472
Poole, no, 646.
12473
The commission sccms not to be recorded in
12474
the RA Ledger. A plaster cast of the marble
12475
is in Emmanuel Concgc hibrary, Cambridge.
12476
@@PROCESS
12477
246
12478
@@PROCESS
12479
770. George Watson TAYLOR MP
12480
(d. 1841)
12481
69.7 cms. (height, including socle); 11.7 cms.
12482
(height of soclc)
12483
Uncleaned. Flaking on drapery. Socle dctachcd and
12484
refixed. Chips to front of soclc to proper left.
12485
Chantrey Sft, no. 135; I.arc Poolc, no. 647.
12486
Commis§ioned 1819, completed 1820, a.nd
12487
noted as unpaid (RA Ledger, p. 89), exhibited
12488
Royal Academy 1820 (no. 1044). Taylor was
12489
MP for Devizes.
12490
@@PROCESS
12491
771. Sir Matthew TIERNEY Bt.
12492
(1776-1845)
12493
73 cms. (height, including socle); 12.9 cms.
12494
(height of socle)
12495
Uncleaned. Superficial losses to back of proper left
12496
shoulder. Point of nose broken off, refixed, and
12497
detached. Name painted on socle.
12498
Chantrey Sft, no. 136; socle label, no. 80; Irme
12499
Poole. no. 648.
12500
Commissioned 1827, completed 1828, and
12501
presented by the sculptor to I.ady Tiemey (RA
12502
Ledger, p. 202), perhaps in gratitude for
12503
medical services. Tiemey was physician to
12504
RIng George IV and RIng William IV.
12505
@@PROCESS
12506
772. Thomas TOMKINS
12507
(1743-1816)
12508
59.6 cms. (height, including soclc); 10,2 cms.
12509
(height of socle )
12510
Cleaned, losses to upper tip and forchcad filled, and
12511
shellac rencwcd by Rachcl Kcnward. Chips missing
12512
from curl over proper left car and to base of socle.
12513
The nose and upper lip were broken off and
12514
rcattached probably in the last century: the join is
12515
very obvious. Name formerly painted on socle
12516
`Tompkins Esq'.
12517
Chantrey Sft, no. 137; I.anc Poolc, no. 649.
12518
Marble in the British Museum dated 1816.
12519
Commissioncd 1816, completed 1817 (RA
12520
Ledger, p. 39); exhibited Royal Academy
12521
presumably as a cast 1816 (no. 948).
12522
Tomkins was author of the BG¢„fS.GJ a/
12523
Wr!.f!."g. He kept a writing school in
12524
Ilondon. The identification is due to lane
12525
Poole who noted the similarity with an
12526
engraving of a portrait of Tomkins by
12527
Englcheart.
12528
@@PROCESS
12529
767
12530
@@PROCESS
12531
768
12532
@@PROCESS
12533
770
12534
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
12535
@@PROCESS
12536
773. John Home TOORE
12537
(1736-1812)
12538
63.5 cms, (height, including socle); 8 cms.
12539
( height of socle)
12540
Coated with whitewash, now grubby. Flaking
12541
around nose and proper right eyebrow probably
12542
indicates rcpalrs. Crack bctwecn bust and socle
12543
repaired. Incised in the model on the back of the
12544
bust: `modelled by F.L.
12545
Chantrey/Published/December I/1810.
12546
Chantrey Sft, no. 138; I.ane Poole, no. 650.
12547
Marble in the Fitzwilliam Museum,
12548
Cambridge. Exhibited Royal Academy 1811
12549
(no. 945). The incised inscription on the
12550
plaster suggests that an edition in plaster was
12551
probably available in 1810, perhaps previous
12552
to the completion of the marble. The bust
12553
exhibited 1811 may also have been a plaster,
12554
but the RA I.edger (p. 81) records a version
12555
commissioned 1818 and completed 1820 at
12556
a reduced price ( loo guineas) appropriate for
12557
a replica-this was not paid for and the bust
12558
was presented by Lady Chantrey to the
12559
Fitzwilliam in 1861. Potts (no. 5) does not
12560
discuss the bust exhibited in 1811 or the
12561
inscription on the plaster. Chantrey's bust of
12562
Tookc's political ally and fiiend Burdctt was
12563
also available in a plaster edition (see No.
12564
@@PROCESS
12565
694). Tooke, a philologist and radical
12566
politician, was a close friend of Chantrey and
12567
did much to support him in his early years in
12568
London. The bust is shown in a pastel portrait
12569
by Cha.ntrey's ffiend John Raphael Smith
12570
dated July 1811 of Tooke's illegitimate
12571
daughters Mary and Charlotte Hart (lot 43,
12572
Sotheby's, I.ondon, 16 November 1988).
12573
@@PROCESS
12574
774. Queen VICTORIA
12575
(1819-1901)
12576
69.6 cms. (height, including socle); 12.2 cms.
12577
(height of socle)
12578
Clcancd, base repaired, and shellac renewed by
12579
Rachcl Kenward. An iron dowcl (shightly rusting)
12580
visible at the top of the soclc. Some points visible.
12581
Chantrey 5ft, no. 140; former soclc label, no. 59;
12582
Lane Poolc, no. 652.
12583
Marble, dated 1839, at Windsor Castle.
12584
Replica, dated 1841, in National Portrait
12585
Gallery (1716). First Commissioned 1838,
12586
complctcd and paid for 1840 (RA Ledger, p.
12587
@@PROCESS
12588
294), exhibited Royal Academy 1840 (no.
1070, specified as marble).
12590
APPENDIX I PLASTER CASTS FROM THE STUDIO 0F SIR FRANCIS CHANTREY
12591
@@PROCESS
12592
775. `Mr WARP'
12593
57.5 cms. (height, including soclc); 11.4 cms.
12594
(height of socle, including tablet)
12595
Cleaned (to plaster) by Mohammed Saleh, Vestiges
12596
of shellac in the hair. Much of the surface scoured.
12597
Deep scratches on temple to proper right.
12598
Chantrey aft, no. 141; I.anc Poole, no. 653.
12599
There is no record of this commission in the
12600
Royal Academy I.cdger. In the early lists of
12601
the Sfts the sitter is identified simply as `Mr
12602
Warp, merchant'. The marble was lot 149,
12603
Christie's, I.ondon, 24 September 1987 as `A
12604
rare early nineteenth century English marble
12605
bust of an elderly gentleman' chiselled
12606
`CHANTREy, SCULPTOR 1816'.
12607
@@PROCESS
12608
776. James WATT (1736-1819)
12609
65.9 cms. (height, including socle); 12.6 cms.
12610
(heightofsocle)
12611
Uncleancd, Extensive flaking especially on face.
12612
Vestiges of name painted on soclc.
12613
Chantrey rift, no. 143; soclc Label, no, 124; I.ane
12614
Pcolc, no. 655.
12615
Numerous marble versions, of which that in
12616
the possession of I.ord Gibson-Watt (Potts,
12617
no. 16) is likely to be the second made. The
12618
first, commissioned by Watt himself in 1814,
12619
completed and exhibited Royal Academy in
12620
1815 (no. 886), probably passed, on Watt's
12621
death, to Matthew Boulton. The replica
12622
ordered by Jancs Wan junior, the engiveer's
12623
son, in 1822 was supplied and paid for in the
12624
same year (RA Ledger, p. 136-Potts dates
12625
this transaction to 1816 presumably because
12626
the bust with which hc identifies it is dated
12627
1816, but the bust may have been made
12628
previous to the order). Watt invented, among
12629
much else, an improved steam engive. Scc
12630
No. 663.
12631
@@PROCESS
12632
777. Arthur Wellesley, duke of
12633
WELLINGTON ( 1769-1852)
12634
77.9 cms. (height, including socle); 12.I cms.
12635
(height of sorlc)
12636
Unclcaned, Stight flaking. Some scratches to the
12637
drapery. Chips missing to hair and to eyebrow to
12638
proper right. loose on socLe.
12639
Chantrey Sft, no. 146; I.one Poole, no. 658.
12640
Marbles at Windsor Castle, dated 1828,
12641
Buckingham Palace, dated 1837, and
12642
Petworth House. The latter version
12643
commissioned by the earl of Egremont in
12644
1828, completed in the same year, and paid
12645
for 1831 (RA Ledger, p. 206) and that
12646
commissioned by Ilord Brownlow 1836,
12647
@@PROCESS
12648
248
12649
completed 1840 (ibid. 278), arc likely to be
replicas. Wellington was Commander-in-
12651
Chief of the British Army in the Napoleonic
12652
Wars and subsequently Tory Prime Minister,
12653
1827-30. See No. 778.
12654
@@PROCESS
12655
778. Arthur Wellesley, duke of
12656
WELLINGTON ( 1769-1852)
12657
83.5 cms. (height)
12658
Coated with whitewash. now grubby and flaking in
12659
several spots on the face revealing dirt below. A
12660
stight chip also lower front of chest to proper right.
12661
Chantrey Sft, no. 147; hanc Poolc, no. 659.
12662
Modelled in 1814, laid aside until 1835, when
12663
sold (RA Ledger, p. 189). See No. 777.
12664
@@PROCESS
12665
779. Benjamin WEST PRA
12666
(1738-1820)
12667
61.7 cms. (height, including socle); 10.7 cms.
12668
(hcightofsoclc)
12669
Bust coated with whitewash, now grubby and
12670
flaking. Socle uncleaned and uncoated, A large
12671
repaired break bctwccn soclc and bust now loose.
12672
Name painted on socle.
12673
Chantrey Sft, no. 148; I.ane Poole, no. 660.
12674
Marbles in the Royal Academy and the
12675
National Portrait Gallery, I.ondon (607), both
12676
dated 1818. The latter was commissioned
12677
1817, completed 1818 (Potts, no.11, RA
12678
Ledger, p. 29); the former was exhibited
12679
Royal Academy 1818 (no.1104) and
12680
presented by the sculptor to the Academy
12681
(RA Ledger, p. 83). Both were based on the
12682
plaster model exhibited at the Royal Academy
12683
in 1811. West was President of the Royal
12684
Academy 1792-1820. He was one of the
12685
leading history painters in Britain.
12686
@@PROCESS
12687
780. Robert Grosvenor, lst
12688
marquess of WESTMINSTER
12689
(1767-1847)
12690
79.9 cms. (height, including socle); 13.3 cms.
12691
(height of soclc)
12692
Uncleaned. Flaking, especially in drapery. An
12693
unusually red shellac on the face. Name painted on
12694
socle.
12695
Chantrey Sft, no. 149; Imc Poole, no. 661.
12696
Marble dated 1838 recorded at Eaton Hall,
12697
Chcshirc, by Gunnis. Commissioncd 1831,
12698
completed 1839, paid for 1842 (RA Ledger,
12699
p. 236). The marquess was one of the
12700
wealthiest men in Britain.
12701
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
12702
@@PROCESS
12703
781. REg WILLIAM IV
12704
(1765-1837)
12705
78,6 cms, (height, including socle); 13,3 cms,
12706
(height of soclc)
12707
Coated with whitewash, now grubby.
12708
Chantrey dft, no. 150; I.ape Poolc, no. 662.
12709
Marbles at Pcnshurst Place, Kent (dated
12710
1831 ); Buckingham Palace; Windsor Castle
12711
(dated 1837); the Goldsmith's Company
12712
(dated 1835); the Royal Academy (dated
12713
1841 ); Eton College. The Penshurst version
12714
commissioned 1829, exhibited Royal
12715
Academy 1831 (no.1190). Replica
12716
commissioned 1830 for the Goldsmiths'
12717
Company, completed 1835 (Potts, no. 3),
12718
another commissioned 1836 for Eton
12719
College, completed 1838, and paid for 1839
12720
(RA Ledger, p. 280).
12721
@@PROCESS
12722
782. Horace Hayman WII.SON
12723
(1786-1860)
12724
78.6 cms. (height, including soclc); 13.6 cms.
12725
(height of socle)
12726
Uncleancd. Proper left eyelid chipped. Name
12727
painted on soclc.
12728
Chantrey gift, no. 151; I.anc Poolc, no. 663.
12729
Commissioned 1835 for the Asiatic Society
12730
of Bengal, Calcutta, completed 1837 (RA
12731
Ijedger, p. 272), exhibited Royal Academy
12732
1837 (no. 1286, specified as marble). Wilson
12733
was Professor of Sanskrit in the University of
12734
Oxford.
12735
@@PROCESS
12736
783. Wflhian Hyde WOLIASTON
12737
(1766-1828)
12738
72.3 cms. (height, including socle); 12.9 cms.
12739
(height of §acle)
12740
Uncleaned. Name painted on soclc ( `W.H.
12741
Wollaston, M.D.'). Incised in the model on the
12742
back `F.C.' in a very cursive hand and `DIED 22. D£C.
12743
1828/WILLIAM HyDE WOLLASTON/M.D. V.P.RS.'
12744
Chantrcy Sft, no. 152; socle Label, no. 128; Ime
12745
Poole, no, 664.
12746
Commissioned 1829, completed 1830, paid
12747
for 1832 (RA Ledger, p. 221). Wollaston
12748
was a Fellow and Vice-Pre§idcnt of the Royal
12749
Society.
12750
@@PROCESS
12751
782
12752
@@PROCESS
249
12754

                
12755
APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY
12756
@@PROCESS
12757
784. William WORDSWORTH
12758
(1770-1850)
12759
57.5 cms. (height)
12760
Clcancd (to plaster) by Mohanmed Saleh. Points
12761
visible.
12762
Chantrey dft, no. 153; I-anc Poole, no. 665.
12763
Marble bust, dated 1822, Liby Library,
12764
University of Indiana, Bloomington.
12765
Commissioned by Sir George Beaumont
12766
1820, completed and paid for 1821 (RA
12767
Ledger, p. 118), exhibited Royal Academy
12768
1821 (no.1134). Potts, no.13. A plaster
12769
cast, presumably supplied by Chantrey, was
12770
in Scott's study at Abbots ford by 1832. By
12771
1822 Wordsworth enjoyed great fame as a
12772
poet, and by 1830 he was the most admired
12773
living British poet.
12774
@@PROCESS
12775
785. Sir Jeffrey WYATVILLE RA
12776
(1766-1840)
12777
74.I cms. (height, including soclc); 13.8 cms.
12778
(height of socle)
12779
Uncleaned. Flaking extensively. Nanc painted on
12780
socle.
12781
Chantrey 5ft, no. 154; I.ane Poole, no. 666.
12782
Marble at Windsor Castle, dated 1837.
12783
Commissioned 1835, completed 1840 (RA
12784
Ledger, p. 274), exhibited 1837 (no. 1285).
12785
Wyatville was one of the most successful
12786
architects of his generation.
12787
@@PROCESS
12788
250
12789
APPENDIX 11
12790
British Furniture in the Ashmolean Museum
12791
This list, unlike those for other schools, is not complete. Some
12792
of the chairs and tables-mostly modern ones, but also some
12793
which are old but commonplace-used by the Museum staff in
12794
their offices or by the invi$1ators in the galleries are not included.
12795
Also I have listed only a few of the display cases. With reluctance
12796
I have omitted the handsome gallery furniture commissioned or
12797
acquired by C. F. Bell-for instance, the six walnut bracketed
12798
wall cases (`slopes') used for the plaquettcs and medals and
12799
originally also for the miniatures; the walnut table supporting
the brass-framed glass case at present containing the Hispano-
12801
Morcsque ware; the six walnut curule chairs; and the oak sloping
12802
case now used for the display of drawings. Also noteworthy are
12803
the cases, of shedua and American black walnut, made in recent
12804
years by John Milncs for the drawings, the porcelain, and the
12805
textiles, and the walnut display cases on columnar supports made
12806
for the Hill couection of musical instruments in the 1930s
12807
previous to their donation to the Museum.
12808
This list, like those of furniture of other schools, docs not
12809
include frames, nor clock cases (although some of the English
12810
1. Court cupboard of walnut and other
12811
woods with lion and unicorn supporters. I,ate
12812
sixteenth century. Cat. No. 600.
12813
2. Octagonal table of oak with a single solid
12814
octagonal support ornamented with
12815
caryatids. Probably late sixteenth century in
12816
parts. Cat. No. 601.
12817
3. Small coffer of oak, the front and lid and
12818
spandrels carved with abstract patterns,
12819
`Edward Braye 1601' chiselled prominently
12820
on the front. No provenance recorded. A
12821
cutting from a sale catalogue gives
12822
Knaresborough Castle as source. Neither the
12823
ornamental carving nor the lettering look
12824
genuine in style: both were probably added
12825
to a coffer, probably of the sixteenth or
12826
seventeenth century, which was decorated
12827
only with notched comers.
12828
4. Chest of oak and walnut, carved with
12829
arcading and flutcd frieze. I.ate sixteenth
12830
century. No provenance recorded. The chest
12831
would oriSnally have been ornamented with
12832
stumpy pilasters supporting the arches. Its
12833
feet have also been cut down. It retains what
12834
may be origival pin hinges.
12835
5. Side table (`Credencc table') of oak with
12836
a hinged top, octagonal when open, carved
12837
with an arcaded frieze including fluting and
12838
ribbing between consoles, on five legs of
12839
ribbed baluster form (of which the back one
12840
long-case clocks are of lacquer and marquetry). Only one coin
12841
cabinet is listed here-the Combe cabinet which, like the Boulle
12842
medal cabinet and the Fitzwilliam p¢.Gfr¢ d#7i¢ cabinet (listed
12843
under French and Italian furniture), is on display outside the
12844
Heberden Coin Room. Other fine, if less ornamental, British
12845
coin cabinets arc preserved within the Coin Room itself.
12846
In making this list, I have made use of a shorter one compiled
12847
in 1970 by Paul Viney of Phillips, Oxford. I have received much
12848
advice on the earlier furniture from Edwin Willson. Ray Ansty
12849
and John Brazier have provided me with much help identifying
12850
the woods.
12851
The Sft of Elizabeth Mallctt in 1961 was made in memory
12852
of her parents Francis (himself a very notable benefactor) and
12853
Margaret. The bequest of Ijady Henriques in 1953 was made
12854
in memory of her son Brydges Henriques (1894-1915). The
12855
exact contents of the latter bequest arc unfortunately far from
12856
clear and to avoid future confusion I have included in parcnthcsis
12857
the corresponding descriptions in the lists made at the time.
12858
slides out to support the open top), the four
12859
fi.ont legs on a plinth with six bun feet (the
12860
back leg with its own bun foot). Early
12861
seventeenth century. Thought to have been
12862
presented by Elias Ashmolc in 1683.
12863
6. `Thrown Chair' of ash and oak with a
12864
triangular seat and a franc of numerous
12865
knobbly turned members. Perhaps early
12866
seventeenth century. No provenance
12867
recorded. Such chairs were collected by
12868
antiquaries from Horace Walpole onwards in
12869
the crroncous belief they were medieval.
12870
Many imitations were made in the last
12871
century. See C. Wainwright, 777c Roow¢##.c
12872
J#fGr¢.or (I.ondon and New Haven, Conn. ,
12873
1989), 58-9.
12874
7. Chest of oak, decorated on the front with
12875
a band of geometric inlay of bog oak and
12876
holly in a dogtooth pattern framing three
12877
panels carved with geometric patterns within
12878
lozenges. Early to mid-seventeenth century.
12879
No provenance recorded. The feet have been
12880
cut down.
12881
8. Chest or cupboard of oak, the front
12882
panel, which is hinged at the top, framed by
12883
Ionic baluster pilasters, half pilasters also at
12884
the back of both sides, and front and sides
12885
richly carved with strapwork, acanthus,
12886
palmettes, etc. Early to mid-seventeenth
12887
century in style. No provenance recorded.
12888
The purpose of such a piece of furniture is
12889
not easy to explain and parallels are hard to
12890
find. It is probably a pastiche.
12891
9. Armchair of oak with a panel back, carved
12892
with stylized birds and trees francd with
12893
geometric inlay in holly and bog oak, the top
12894
rat with a scrolled crest, the downswept arms
12895
of square section, the other members (legs,
12896
front and side stretchers, and arm supports)
12897
all tuned, the legs on blqck feet. Mid to late
12898
seventeenth century and provincial in style.
12899
No provenance recorded. The top rail is a
12900
replacement. Brass plaque behind the back
12901
claims that the chair was the one in which
12902
`Clarke was murdered by Eugene Aran and
12903
Houseman on 7th or 8th of Jan. 1744 or
12904
1745, and purchased by Miss Denison
12905
afterwards Mrs Jackson of Huby, on the sale
12906
of the murdered man's effects at Knaresbro. '
12907
The story of Aram, a considerable scholar,
12908
and his murder of Daniel Clark(c) is given
12909
undc[ Aram in tl\c Dictionary Of National
12910
Biograpky.
12911
10. Amchair of walnut with a cared seat and
12912
back panel, double-bind spiral legs and
12913
stretchers, columnar posts, slightly dipped
12914
moulded arms with some foliage at the
12915
scrolled front ends, the high front rail, top
12916
rail, and the franc of the back panel all of a
12917
flat foliate pattern a.1680. No provena.nce
12918
@@PROCESS
251
12920

                
12921
APPENDIX II BRITISH FURNITURE INTHE ASHMOLEAN MUSEUM
12922
recorded. The chair is very similar to one
12923
stamped `R.P.' and attributed to Richard
12924
Price (a joiner documentcd as making caned
12925
twisted walnut chairs for the royal palaces
12926
c.1676-83) which is at Temple Ncwsam (C.
12927
aiNbert. Furniture at Temple Navsam House
12928
and IAitherton Hall (heeds, \978), i, no. 53),
12929
but the carving of no. 10 is less elaborate-without
12930
paw feet on the front legs, crowned
12931
finials to the posts or piercing in the scroll-work,
12932
for instance.
12933
I I . Armchair of ebohized walnut with a
12934
cancd seat and back panel, arms and front
12935
legs of scroued form, posts, arm supports,
12936
and stretchers of complex tuned baluster
12937
form, and front rail, top rail, and the frame
12938
of the back panel in the fom of flattened
12939
scrolls (the scrolls of the rails centred with a
12940
crown). c.1685. No provenance recorded.
12941
The chair is very simnar to a pair of chairs at
12942
Temple Newsan, one of which is stamped
12943
R 8. and attributed to RIchard Bealing, a
12944
supplier of walnut furniture to King William
12945
Ill (op. cit. under no. 10, i, no. 54; cf. also
12946
G. Wills, E"g/;ch F„roG.f#re 1550-1760
12947
(Ijondon,1971), 85, plate 68).
12948
12. Chest of drawers on a stand with short
12949
single-bind spiral legs and flat cross-scrolled
12950
stretchers, above bun feet; the mouldings and
12951
legs of walnut, the upper surface ornamented
12952
with a bold design of tulips and daffodils in
12953
marquetry of walnut, box, and stained bone
12954
on a field of ebony, fromed with walnut cross-banding,
12955
the drawer faces ornamented with
12956
oyster veneer of olive-wood for the most part
12957
(but another wood is employed on the central
12958
drawer). Ijatc scventccnth century. Elizabeth
12959
Malictt Sft, i96i.
12960
13. Display cabinet of figured walnut veneer
12961
over an oak carcass, on a stand of walnut; the
12962
cabinet with glazed doors each with four
12963
bevcllcd panes and a drawer in the pulvinated
12964
ffiezc above; the stand with one drawer on
12965
six single-bind spira.I legs with a flat scroucd
12966
cross-stretcher above bun feet. Late
12967
seventeenth century. Elizabeth Mallett dft,
12968
1961.
12969
14. Cabinet and chest of drawers of walnut,
12970
the doors of the upper case opening to reveal
12971
small drawers around a central cupboard, the
12972
lower case with two short and two long
12973
drawers; all visible surfaces vcncered: figured
12974
root walnut serving for mouldings and
12975
cornice and used in quarter-veneer patterns
12976
on all sides, burr walnut employed on the
12977
front doors froming panels of seaweed
12978
marquetry of a minute pattern of box on a
12979
walnut ground, the fficze of overlapping
12980
leaves of box, sand-scorched. c.1700.
12981
Elizabeth Mallett aft,1961.
12982
15. Centre table of walnut with seaweed
12983
marquetry on scrolled legs headed with
12984
@@PROCESS
12985
252
12986
female heads supporting cushions. c.1700.
12987
Cat. No. 602.
12988
16. Rectangular chest of drawers, consisting
12989
of two small, above three long, drawers, the
12990
drawer faces of ash framed in cross-bending
12991
also of ash, with panels of `seaweed'
12992
marquetry of walnut on a ground of box, the
12993
upper surface of the chest inlaid with a
12994
geometrical pattern of walnut, satinwood, and
12995
mal`ogany. c.1700, parts probably later. No
12996
provenance recorded.
12997
17. High-back armchair of walnut with
12998
upholstered scat and splat ( both origivally
12999
cancd); cresting and splat franc carved with
13000
scrolls a.nd foliate ornament; posts of complex
13001
balustcr fomi headed with blocks carved with
13002
leaves; scrolling legs and arms ribbed and
13003
carved with ancanthus; the cross-stretchers of
13004
s-form with breaks centring on a finial. Early
13005
eighteenth century (or imitation of that
13006
period). No provenance recorded.
13007
18. Card table with a folding top and
13008
concertina action, the top rectangular but
13009
with curved comers, on straight turned legs
13010
headed with lappets and ending in club feet;
13011
the legs of solid laburnum, the closed top
13012
quarter-veneered in laburnum in a radial
13013
pattern with box and ebony stringivg, each
13014
rail veneered with laburnum, bookmatched,
13015
 the open top covered with green cloth but
13016
with the four candle circles veneered with
13017
laburnum and the four counter wells veneered
13018
with mahogany c.1720-5. Lady Henriques
13019
Bequest 1953 (listed as `Tiger-wood folding
13020
card tablet). A very similar card table is at
13021
Temple Newsam House, the chief difference
13022
being that it has legs of walnut (Gilbert, op.
13023
cit. under no. 10, i, no. 383). Another wa.s
13024
lot 73 at Christie's, I,ondon, 19 April 1990.
13025
19, Card table with a folding top and
13026
concertina action; the top of serpentine form
13027
with a small drawer above a small scrollcd
13028
apron, on cabriole legs, headed with shields,
13029
ending in club feet. The legs are of solid
13030
walnut, the rats of walnut veneer, the closed
13031
top of walnut quarter-veneered and framed
13032
with cross-banding, the open top covered
13033
with Pcf!.f Po;„f decorated with flowers, cards,
13034
and money, with candle circles veneered in
13035
walnut. c.1720-5. Given by Mrs W. R. F.
13036
Weldon, June 1935.
13037
20. High-back armchair with rectangular
13038
upholstered back and seat, and arm pads on
13039
the straight arms, downswept mahogany am
13040
supports, cabriole legs of mahogany with
13041
foliage carved at the knee, and claw and ball
13042
feet. Second quarter of the eighteenth
13043
century. No provenance recorded.
13044
21. Wall bracket of stepped form with a
13045
rectangular top, lacquered in gold and brown
13046
with a pattern of fanciful birds and diaper
13047
work, and heavily varnished. Second quarter
13048
of the eighteenth century. No provenance
13049
recorded. The bracket is at present employed
13050
to support the Cox Clock (Cat. No. 465).
13051
The top is an addition.
13052
22-23. Pair of massive armchairs of beech,
13053
Slded, with rectangular upholstered seats
13054
and backs and straight upholstered arms, the
13055
downswept arm supports and scroll front legs
13056
both carved with acanthus and linked rings
13057
on the chief face and with hatched scales on
13058
the side faces. Presumably designed by
13059
Wlilliam Kent for Hollcham Hall, Norfolk,
13060
seat of Thomas Coke, first earl of Leicester.
13061
Kent began to make designs for Holkhan in
13062
about 1730 and these chairs could have been
13063
made then but were more probably made
13064
later (the central block of the house not being
13065
complete until after 1750), very likely by
13066
Benjamin Goodison, the cabinet maker chiefly
13067
employed for the furnishing of Hollcham
13068
during the 1740s. By descnt in the Coke
13069
Family (having been removed from Holkham
13070
to Longford, Derbyshire) to Gerald Coke by
13071
whom presented in 1978 though the friends
13072
of the Ashmolean Museum. Similar chairs,
13073
but of mahogany, parcel gilt, remain at
13074
Holkham. A dctaled report on the traces of
13075
the original upholstery compiled by Heather
13076
Gilbey of the Victoria and Albcrt Museum in
13077
October 1978 is in the Department's
13078
archives. The green silk covering and brass
13079
nails date from the year of acquisition.
13080
24. Narrow dining-room side table of
13081
mohagany with a Vitruvian scroll frieze on
13082
the rails, on straight square legs. In the style
13083
of william Kent. c.1740. No provenance
13084
recorded. The legs have been lengthened. The
13085
long undecorated rail looks as if it orignally
13086
had attachments-probably posts to support
13087
a display gallery.
13088
25. Display cabinet in the form of a
13089
rectangular vitrine with a frame and stand of
13090
edlt pine combined with brown and ctlded
13091
lacquer, the cornice of beech, water-Blt,
13092
carved with acanthus, the cabriole legs, also
13093
of bccch, water-gilt, headed with acanthus
13094
and on pad feet, one drawer in the stand.
13095
Mostly Edwardian, but incorporating mid-eighteenth
13096
century fragments. J. F. Mallett
13097
Bequest, 1947.
13098
26-31. Set of six hall chairs of mahogany
13099
with saddle scats, each chair-back of a single
13100
piece of mahogany fanning out to a waved
13101
crest and pierced in a curling radial pattern,
13102
with ribs in each solid clement and the centre
13103
of the back a solid field of waved shape
13104
painted with the arms of Henry Rolle ( 1707-
13105
50), created Baron Rolle in 1747. The
13106
scrolled front legs have feet curled inwards in
13107
a line continuous with the pic[ced and
13108
scrolled front rail. Mid-eighteenth century.
13109
Presented in 1954 by the first earl of Halifax
13110
APPENDIX II BRITISH FURNITURE IN THE ASHMOLEAN MUSEUM
13111
KG, OM, Chancellor of the University 1933-
13112
59. The painfully crippled but sophisticated
13113
design is related to one published in R
13114
MaLr\warirSs Cabinet and Chairmaker's
13115
Real Friend and Companion (-hondon.
13116
1765).
13117
32. Tea table of mahogany, the square top
13118
with a spindle gallery and a pierced foliate
13119
fringe beneath the rail, on four legs, each a
13120
cluster of three slender straight turned shafts
13121
connected with block headings, block feet,
13122
and blocks for the thin chamfered cross-stretchers
13123
c.1760. A aft from the estate of
13124
Walter and Anne Stoye, 14 August 1978.
13125
Elements of this table are stylistically akin to
13126
those in both the Chinese and Gothic taste.
13127
33. Cheval firescreen of mahogany, with a
13128
panel of Soho tapestry (showing a vase of
13129
flowers, a spaniel, and a parrot) on one side
13130
and on the other a panel of needlework
13131
(showing a basket of flowers), the posts
13132
formed as octagonal Doric columns
13133
superimposed on turned Corinthian ones,
13134
supported by pairs of scroll legs. c.1760.
13135
Elizabeth Mallett Sft,1961.
13136
34. Bureau of rectangular form, the sloping
13137
drop front concealing eight large and eight
13138
small stepped drawers, the body beneath of
13139
four drawers (and no dummies) on straight
13140
and tapering legs with concave collars, the
13141
carcass of oak veneered in parquetry of burr
13142
elm and figured walnut. c.1770. Provenance
13143
unrecorded.
13144
35-36. Pair of console tables each with D-shaped
13145
top of satinwood veneer bordered
13146
with walnut cross-banding, supported by
13147
three scrolled legs of pine painted green and
13148
parcel gilt, carved with husks and acanthus,
13149
headed with blocks carved with lion heads in
13150
an Egyptian style, springivg from a shaped
13151
plihith with carved paterae on its projections
13152
and fluting in its concavities. c.1770. I.ady
13153
Henriques Bequest, in 1953 (`palr of pier
13154
glass console tables'). The tops may not be
13155
original.
13156
37-38. Pair of pedestals (candlestands) of
13157
satinwood veneer, with brass beading and
13158
thin ebony mouldings, the block above the
13159
tapering pier concave on each face, the
13160
tapering pier swept out at its foot to meet a
13161
rectangular plinth. c.1775. Bought in 1933.
13162
39. Boudoir table veneered with satinwood
13163
and walnut, with a galleried ledge on the
13164
serpentine top, a single drawer above a
13165
curving apron, and thin cabriole legs joined
13166
by a low shelf, the top concealing a mirror
13167
raised on a hinged flap. The top is decorated
13168
with a trophy of musical instruments, palm
13169
branch, bays, and shells in marquetry, the
13170
draw front decorated with parquctry, the legs
13171
decorated with marquetry ( now indistinct) of
13172
husks and scrolls. I.ate eighteenth century.
I.ady Henriques Bequest, 1953 (`Writing-cum-
13174
dressing table' ).
13175
40. Medal cabinet of rectangular form with
13176
massive brass carrying handles of loop form
13177
on each side, decorated with marquetry of
13178
sycamore, box, and varieties of walnut, a
13179
loosely garlanded urn represented on each
13180
door in an oval field framed with a chequer
13181
pattern band. The cabinet rests on a plain
13182
modern mahogany stand. Made for Dr
13183
Charles Combe ( 1743-1807). c.1775.
13184
Transferred from the Bodleian Library in
13185
1920. (Heberden Coin Room.)
13186
41. Hanging rectangular cupboard of
13187
mahogany containing an ivory crucifix within
13188
a gilt frame. Ijatc cightecnth century. Cat.
13189
No. 336 (for the ivory).
13190
42. Harlequin writing table, dressing table,
13191
and cupboard of rectangular form with
13192
tambour cupboard doors in the concave knee
13193
hole, on straight tapering legs; the closed top
13194
is of satinwood veneer with a border of walnut
13195
cross-banding and ropetwist strinalng of
13196
satinwood and ebony the front of quilted
13197
satinwood veneer, the tambour doors of
13198
plane and walnut. Late eighteenth century.
13199
Bequeathed anonymously,1951. A similar
13200
piece now at Temple Newsam House was
13201
published (when on loan there) by C. Gilbert
13202
•in the Jounal Of the Furniture History Society,
13203
2 ( 1966), 40-2 (`A Shearer Harlequin Table
13204
and its Design'), and again, with crucial
13205
additions, in his catalogue (op. cit. under no.
13206
10, ii, no. 429). Another such Harlequin table
13207
is at Althoap and others have appeared in the
13208
sale rooms. The model certainly existed by
13209
1779 when it was illustrated in Thomas
13210
Mdrf yon. s Compleat Treatise on PerspectiT}e. A\
13211
drawing by London cabinet maker George
13212
Specr may represent the original design. Two
13213
designs also appeared in 777c C¢4;„ct M¢4Gr'j
13214
lo"do" Boo4 a/Pr}.ccf, first published I.ondon,
13215
1788, one of which is signed by Thomas
13216
Shearer.
13217
43. Harlequin dressing table and cupboard
13218
of mahogany veneer with stringivg of ebony
13219
and box, with one real and one dummy door,
13220
on straight tapering legs. I.ate eighteenth
13221
century. I.ady Henriques Bequest, 1953
13222
(`opening dressing table' ).
13223
44. Settee of beech with a cared seat, the
13224
back and ams in the form of a Gothic arcade,
13225
on straight, turned, tapering legs, the frame
13226
lacquered black with a band of yellow,
13227
running foliage painted in green on the top
13228
rail, a yellow guilloche pattern painted on the
13229
seat rail. Perhaps Henriqucs Bequest, 1953
13230
(it corresponds exactly with no item in any
13231
list).
13232
45. Oval card table with folding top, on
13233
straight tapering legs with block feet, the
13234
closed D-shaped top of satinwood veneer with
13235
a border of pale walnut cross-bending,
13236
another parallel band of cross-banding in the
13237
centre, stringing and marquetry of paterac
13238
and of flowers and husks in fine scgmental
13239
swags, of box and sycamore with some
13240
penwork and green staining, the open top
13241
covered with blue felt, the legs headed with
13242
triglyphs in marquetry, the rall's frieze also
13243
decorated with oval patcrac. I.ate eighteenth
13244
century. Lady Hcnriques Bequest, 1953.
13245
46. large oval card table with folding top,
13246
on straight fluted tapering legs with reeded
13247
necks, the closed D-shaped top of figured
13248
satinwood vcnecr with a border of tulipwood
13249
crbss-banding and a parallel border of the
13250
same defining a central D-shaped zone
13251
decorated with floral marquetry of sycamore
13252
and some penwork against a ground of yellow
13253
vanish, the open top covered with green
13254
baize, the rail of satinwood veneer, the block
13255
heading each leg decorated with floral
13256
marquetry in an oval field, the legs of
13257
satinwood. Irdte eighteenth century. Iady
13258
Henriques Bequest, 1953 (`Large oval
13259
folding table' ) .
13260
4748. Pair of comer cupboards of
13261
mahogany, the upper stages with four shelves
13262
and glazed doors with crossing bars. I.ate
13263
eighteenth century. I.ady Henriques
13264
Bequest, 1953.
13265
49. Ijarge breakfront bookcase and bureau
13266
of mahogany with a flutcd ffieze intcrruptcd
13267
by rosettes below a comicc of miniature
13268
`Gothic' spandrel arches, the upper stage with
13269
adjustable shelves and six glazed doors with
13270
crossing bars, the lower stage on the sides
13271
with panelled doors containing cupboards
13272
above drawers in the plinth, and in the centre
13273
with a pair of cupboard doors with oval panels
13274
beneath a large drawer which opens to reveal
13275
pigeon holes and drawers, its front dropping
13276
to form a writing surface. The glazed doors
13277
and the cupboard doors are framed with
13278
mahogany cross-banding in a radial pattcm,
13279
the panels in the cupboards are of curl veneer
13280
symmetrically disposed, all this veneer being
13281
of fine Cuban mahogany. IAte eighteenth
13282
century. I.ady Henriques Bequest, 1953
13283
(`Bureau bookcasc' in one list, `Mahogany
13284
breakfront case' in another, apparently
13285
originally allocated to the `Museun of
13286
OrientalArt').
13287
50. Work table with a concealed cabinet of
13288
drawers on a spring mechanism, the top with
13289
concave sides, the projecting corners
13290
chamfercd, incorporating a rectangular tray
13291
which lifts when the rectangular cabinet
13292
springs up, on straight tapering legs with
13293
casters. The top is quarter-veneered in
13294
coromandel in a radial pattern around the
13295
tray which is decorated with marquetry
13296
representing two books (of wenge and
13297
@@PROCESS
253
13299

                
13300
APPENDIX II BRITISH FURNITURE IN THE ASHMOLEAN MUSEUM
13301
sycamore) against an oval field (of satinwood),
13302
contained by spandrels (of burr walnut), the
13303
concealed spring veneered with mahogany
13304
with tulipwood cross-banding. Late
13305
eighteenth or early nineteenth century. I.ady
13306
Henriques Bequest, 1953 (`Table inlaid with
13307
twovolumes').
13308
51-57. Suite of a settee, four side chairs, and
13309
two armchairs of pale wood (not beech but
13310
possibly satin walnut) with caned splats and
13311
seats, each rectangular splat connected with
13312
the rails above and below by circles, the back
13313
frames themselves rectangular, the seats
13314
rounded in front, fine tuned baluster arm
13315
supports, tuned tapering front legs with
13316
cross-stretchers. The wood is decorated with
13317
painted dark brown lines in imitation of inlay
13318
stringing. I,ate eighteenth or early nineteenth
13319
century. Lady Henriques Bequest, 1953 (in
13320
one list said to be of rosewood, in another
list described as including six side chairs-
13322
perhaps because the pair of chairs histed below
13323
was carelessly associated with the suite).
13324
58-59. Pair of armchairs of pale wood (not
13325
beech but possibly satin walnut) with two
13326
cared rails across the rectangular back and
13327
with rectangular caned seats, downswept
13328
arms, straight front tapering legs. The wood
13329
is decorated with blue painted lines in
13330
imitation of inlay stringing. Irate eighteenth
13331
or early nineteenth century. I.ady Henriques
13332
Bequest,1953 ( satinwood and canework
13333
armchairs' in one list, in another list possibly
13334
incorporated in the suite described above).
13335
60ndl. Pair of armchairs of beech with
13336
rectangular caned backs and seats,
13337
downswept amis, and splayed turned front
13338
legs, the frame painted black and decorated
13339
with coloured flowers. Early nineteenth
13340
century. I,ady Henriques Bequest, 1953
13341
(presumably the `palr of painted armchairs'
13342
mentioned in one list).
13343
62-64. Set of three side chairs of beech with
13344
rectangular caned seats, with pierced cross
13345
rails on the backs, on splayed tuned front
13346
legs, the frame lacquered in initation of
13347
rosewood (now mostly blackened) with a
13348
floral pattern in gold. Early nineteenth
13349
century. Perhaps I,ady Henriques Bequest,
13350
1953 (possibly the `pair [fz.c] of amchalrs
13351
[J¢.c] lacquered in the Chinese manner', unless
13352
this is taken to refer to the pair described
13353
above.- possibility increased by the fact that
13354
the description docs not appear on the same
13355
list as the `pair of painted armchairs').
13356
65. Partner's writing table of rectangular
13357
fom on four straight tapering legs with one
13358
large central drawer flanked by two shorter
13359
drawers on each long side stepped to
13360
accommmodatc knees. The top covered with
13361
green baize, other surfaces veneered with
13362
mahogany, each drawer face framed with
13363
@@PROCESS
13364
254
13365
coromandcl cross-banding and box stringing.
13366
Oridnal brass loop handles. I,ady Henriques
13367
Bequest, 1953.
13368
66nd7. Pair of hall tables with frames and
13369
console-shaped supporters of mahogany with
13370
green porphyry tops. Designed by Thomas
13371
Hope, c.1805. Cat. Nos. 522-3.
13372
68-71. Set of four low chairs of figured ash
13373
with deeply curved top rails, scrolled, bowed,
13374
and pierced lyre-shaped splats, downswept
13375
posts, drop-in upholstered seats, and sabre
13376
legs. The legs, top rails, and posts are of solid
13377
wood, the splats and seat rails veneered, the
13378
splats and top rails inlaid with mahogany in a
13379
pattern of geometric flower-heads,
13380
honeysuckle, and scrolling lines. Probably
13381
designed by Thomas Hope, c.1805. Bought
13382
at the Deepdene sales, 1917, Ijot 919
13383
(together with a rosewood fircscreen ).
13384
72. Sofa table of mahogany with two flaps, a
13385
drawer at each end, on a single bulbous
13386
baluster rising from a plinth with four
13387
downswept legs with ribbed upper surfaces
13388
terminating in brass foliate feet with casters.
13389
Early nineteenth century. Lady Henriques
13390
Bequest, 1953 (`Mahogany pedestal table
13391
with side drops').
13392
73. Massive sideboard with a gallery on two
13393
pairs of cabriole legs with paw feet, of
13394
mahogany--with mahogany venccr (on the
13395
upper surface ) and some ebonized mahogany
13396
mouldings ornamented with ormolu wreaths.
13397
c.1810. One of a pair from Gloucester
13398
House, Park Lane (residence of the duke of
13399
Cambridge). I,ady Henriques Bequest, 1953.
13400
74-75. Pair of hall tables consisting of
13401
console-shaped supports of walnut with
13402
rosewood veneer supporting slabs of Anglesey
13403
porphyry. c.1820-30. Cat. Nos. 612-13.
13404
76. Tripod table with coromandcl veneer and
13405
Slt metal mounts supporting a circular
13406
specimen marble table top from the workshop
13407
of Michelangelo Barberi. c.1855. Cat. No.
13408
10 (for the table top).
13409
77. Rectangular wardrobe of deal entirely
13410
painted on the exterior; two doors, that to
13411
proper right of two leaves, hinged; the other
13412
door of one leaf; a notched cornice; the doors
13413
fromed with engaged angular shafts on heavy
13414
moulded feet formed as inverted Gothic
13415
corbels. The doors are painted by Edward
13416
Bume-Jones ( 1833-98) with scenes from
13417
`The Priorcss's Tale' by Chaucer
13418
incorporating repeated portraits of Jane
13419
Burden (later Mrs Morris) as the Virgin Mary
13420
and her angelic escort and a dedication by
13421
the artist to William Morris. The interiors of
13422
the doors are decorated with unfinished
13423
figure paintings and decorative patterns by
13424
Morris himself. Bequeathed in 1939 by Miss
13425
May Morris, but first placed on loan by Jane
13426
Morris in 1901 (it had previously been on
13427
loan to the South I.ondon Art Gallery,
13428
Camberwell Road). Mrs Morris declared it
13429
to be her intention to bequeath the wardrobe
13430
to the Ashmolean in a letter of 2 March 1901 :
13431
she also claimed that it had been presented to
13432
her husband and herself `on the occasion of
13433
our marriage'. This has been repeated ever
13434
since and it has also been claimed that the
13435
piece was designed by Philip Webb for the
13436
couple's first marital home, The Red House.
13437
But the wardrobe is inscribed to Morris only,
13438
it is also of poor material, evidently
13439
improvised in construction, which is
13440
impossible in a work designed by Webb, and
13441
it is more likely to be of an earlier date and
13442
one of the pieces of furniture made by Morris
13443
and Bume-Jones for their rooms in Red Lion
13444
Square in 1857.
13445
78. Bookcase of oak, carved and gilt and
13446
painted, of architectural character with gabled
13447
roofs and a colummar gallery, designed by
13448
William Burges (1827-81) and made for his
13449
rooms in Buckingham Street, I.ondon,
13450
between 1856 and 1862. It was exhibited in
13451
the Medieval Court of the International
13452
Exhibition in the latter year, but was damaged
13453
and altered in 1878. `The largest piece of
13454
Burges's furniture and unrivalled for the
13455
richness and profusion of its decoration'
13456
(-Mary Airon in The Strange Genius Of
13457
Wj%¢eeB„7g:gGf(NationalMuseumofwales,
13458
Cardiff,1981), no.136, p. 75). The paintings
13459
are all of subjects connected with art, taken
13460
from both Christian and pagan legends, and
13461
are by E. S. Poynter, N. H. S. Westlake, E.
13462
Burne-Jones, Simeon Soloman, C. Rossiter,
13463
Thomas Rossitcr, Thomas Morten, Albert
13464
Moore, Frederick Small field, W. F. Yeames,
13465
W. Weekes, S. A. Fitzgerald, and H. Stacy
13466
Markes. Purchased in 1933 by Kenneth Clark
13467
(who acknowledged in the A»7?"¢/ Rcporf
13468
that it was `not acceptable to present day
13469
taste'). Placed on loan at Knightshayes.
13470
Devon (the National Trust), in 1954.
13471
79. Cabinet for framed drawings, of
13472
mahogany in two stages crowned by a plain
13473
pediment, the doors of the upper stage of
13474
glass, smaller glass doors in the lower stage,
13475
a shelf between the two stages (the lower
13476
being deeper). Designed by John Ruskin for
13477
the collection he gave to the University in the
13478
l880s. The Department of Antiquities also
13479
retains the similarly plain mahogany cabinets
13480
given to Ruskin by his parents when he was
13481
an undergraduate to house his collections of
13482
eggs and minerals-these are now employed
13483
for Near Eastern seals and Graeco-Roman
13484
seals.
13485
80-81. Pair of rectangular display cases
13486
framed in walnut on elaborate stands of
13487
carved walnut; each stand with a frieze of
13488
scrolls and flowers centring in a boy's head
13489
APPENDIX II BRITISH FURNITURE IN THE ASHMOLEAN MUSEUM
13490
in a glory; the cabriole legs carved with
13491
drapery, husks, horizontal fluting, and
13492
acanthus, headed with boys' busts, on claw
13493
and ball feet which are connected with
13494
scrolling stretchers carved with acanthus and
13495
fluting centring on a vase. Early nineteenth
13496
century, inspired by French seventeenth
13497
century models. J. F. Mallett Bequest, 1947.
13498
82. A rectangular table display case, the
13499
glazed top framed in moulded brass, the
13500
frieze of cross-banded walnut with ebony
13501
stringing and a border of pale walnut, on
13502
square straight tapering legs with cross-stretchers
13503
of bow form, also of a pale walnut.
13504
Early nineteenth century.
13505
83. A rectangular upright display case of
13506
figured walnut; the principal case rising above
13507
another of sloped desk-form; supported on
13508
seven octagonal tapering legs carved with
13509
Ionic capitals, reeded necking, and acanthus
13510
leaves united with a flat scrolled stretcher
13511
below which are bun feet; three of the legs
13512
are at either end and at the centre of the front
13513
of the cabinet, two at either end of the back,
13514
and two at intermediary points between the
13515
first centre leg and the two back legs. Early
13516
nineteenth century. J. F. Mallett Bequest,
13517
1947.
13518
84. A rectangular display case of brass, of
13519
three divisions, with five doors, made by the
13520
firm of Mantelet, supported by a wooden base
13521
with low cupboards, the three doors of which
13522
arc of modern Chinese cut lacquer with
13523
figures against a black background. Early
13524
nineteenth century. J. F. Mallett Bequest,
13525
1947. Mallett also possessed two other
13526
similar but smaller cabinets, according to the
13527
inventory of his collection.
13528
85. A rectangular upright display case of
13529
mahogany, on eight square tapering legs
13530
connected with a flat-shaped stretcher; the
13531
pilaster strips framing the case, the frieze, and
13532
the legs with herringbone cross-banded
13533
veneer in recessed panels; the central front
13534
leg and the centre of the frieze of a different,
13535
darker, wood (probably rosewood); ormolu
13536
foliate feet and foliate collars on each of the
13537
front four legs and ormolu rectangularly
13538
framed rosettes on their heading blocks.
13539
Gaspard Oliver Farrer Bequest, 1946. The
13540
splendid art bronze foliate handle of the key
13541
to this case is, perhaps, original seventeenth
13542
century work.
13543
86-87. Pair of columnar pedestals carved
13544
with cherubim and large scrolls and acanthus.
13545
Probably early twentieth century but in a
13546
Renaissance style. Provenance unrecorded.
13547
88. A rectangular upright bookcase; with two
13548
glazed doors and inverted Gothic corbel feet;
13549
the mouldings, glazing bars, and massive
13550
shaped feet of solid rosewood; the walls all
13551
of dark oak; the adjustable shelves of oak; the
13552
displayed hinges and the handles of stamped
13553
brass, gilded. A copy of a bookcase made by
13554
Ernest Gimson in 1913, which is now in the
13555
Holboum of Menstrie Museum, Bath,
13556
commissioned for his private use by C. F.
13557
Bell, Keeper of the Department of Fine Art
13558
( 1908-31 ), from Peter Waals ( 1870-1937)
13559
and completed for him in 1926. Bought in
13560
1972 from the collection of Charles and
13561
Iravinia Handley-Read.
13562
89. Table of Brazihian mahogany made to
13563
support a brass-framed glass vitrine (made by
13564
Messrs Sage) with fretted spandrels and
13565
straight legs on blocked feet. The recesscd
13566
panels of ffieze and legs are veneered with
13567
quilted macaree framed with ebonized
13568
mahogany beading, the ffieze in both long
13569
sides is centred on a marquetry representation
13570
of a glass bowl in sycamore and rosewood on
13571
an oval field of quilted macaree. Made in
13572
1989 by Ray Ansty of the Museum workshop;
13573
commissioned in 1988 by Christopher
13574
Shephard for the Museum's collection of
13575
Venetian glass.
13576
90. A pair to No. 89 made by Mr Ansty in
13577
1991.
13578
91. A Rectangular tabletop of satinwood
13579
with rounded comers, decorated with pen
13580
and brush in indian ink under hard varnish
13581
with a central panel of the three Graces within
13582
six omanental bands of dense foliage.
13583
Colonial or provincial work. Presented by Mr
13584
K. D. Gloag and Miss Gloag from the estate
13585
of Mrs Gloag of 8, Northmoor Road,
13586
Oxford. Set on a mahogany baluster support
13587
with three downswept feet made by Ray
13588
Ansty in 1988.